Before the Jacob Elordi and Margot Robbie steamy lovefest, Wuthering Heights, takes over the world, this weekend belonged to K-Pop group Stray Kids as their Live Nation concert movie, Stray Kids: The dominATE Experience, danced to a $19.1M global win from 61 territories, electrified largely by Universal International. with $13.5M, while domestic delivered $5.6M from Bleecker Street‘s new event cinema label Crosswalk at 1,724 locations. CJ has Korea but the movie didn't fare that well over there with an estimated $227K (we're still figuring out why that is). Japan didn't go this weekend. For Uni, it's their first K-Pop movie. Arthouse Indies Mix It Up With Winter Olympics & Kpop On Super Bowl Weekend -- Specialty Preview How Breaching 45-Day Exclusive Window Will Devastate Movies & Why Netflix's Commitment To Theatrical Is Misleading - Guest Column Disney is claiming they're the No. 1 MPA title for the weekend, (though No. 2 global) with Zootopia 2 which nabbed $16.8M WW ($12.8M overseas, $4M domestic). 5 MPA release of all-time internationally with $1.388 billion, passing Avengers: Infinity War ($1.374Bn). Meanwhile, The Housemaid flies past $350M worldwide with a $16.5M global weekend ($14.7M abroad, $1.8M North America), with 20th Century Studios' Send Help (which remained No. 1 stateside with $10M in its second frame) pulled in $16.3M WW for a running global take of $53.7M (broken out $35.8M stateside, $17.9M abroad). Housemaid‘s global has surpassed that of It Ends With Us ($350M) with $354.7M WW, broken out that's $231M foreign and $123.7M domestic. Imax screens repped 20% around the world for Stray Kids or $3.9M, making it the large format exhibitor's biggest opening weekend ever for a Korean-language film. North America did $2.1M or 38% of the concert pic's domestic weekend. Germany with $1.6M repped the best debut for a K Pop release ever at 331 screens (including 12 Imax hubs and four 4DX). IMAX accounted for 19% of the total and Cineworld's 4DX screens took 7%. Opening weekend also performed in line with Taylor Swift's The Eras Tour and BTS Yet to Come to the Cinema. Spain was $600K at 184 screens, ranking No. 1 for the K Pop kids with $300K at 120 (two Imax). Reports from theatres there indicate that fans are turning these screenings into parties, featuring singing and dancing, with many seeing the film more than once. 1 in Brazil in its sixth weekend, muy bien, with a 17% uptick from last weekend. UK is nearing $40M via Lionsgate, France has now crossed 4M admission ahead of F1 (cume there via Metropolitan is $35.8M). Overall Latin America count $33.1M through distributor IDC which has a joint venture with Lionsgate. Sam Raimi's Send Help opened to No. 1 in the UK with $1.8M for the weekend $2.2M including previews, +114% ahead of Blink Twice, +68% ahead of Ready or Not and +66% ahead of The Menu. It also opened as the #2 non-local film in Croatia and the #3 film in Bosnia. Other updated territory cumes are Mexico ($2.3M), Australia ($1.6M), Germany ($900K), Japan ($800K), Italy ($800k), Saudia Arabia ($700K), Spain ($700k), Netherlands ($600K) and Korea ($500K). James Cameron's Avatar: Fire and Ash brought in $3.5M domestic, $12.2M (-40%) in its eighth weekend for an overall global frame of $15.7M and running cume of $1.439B WW ($391.5M domestic, $1.047B). 11 MPA release of all-time at the international B.O passing Inside Out 2‘s $1.046B). 1 MPA release of 2025 internationally and globally behind Zootopia 2. Get our Breaking News Alerts and Keep your inbox happy. Comments On Deadline Hollywood are monitored. Signup for Breaking News Alerts & Newsletters By providing your information, you agree to our Terms of Use and our Privacy Policy. 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 We want to hear from you! Send us a tip using our annonymous form. Sign up for our breaking news alerts By providing your information, you agree to our Terms of Use and our Privacy Policy. 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. By providing your information, you agree to our Terms of Use and our Privacy Policy. 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.

Meghan Markle was pretty in pink as she attended he annual Fifteen Percent Pledge Fundraising Gala in Los Angeles solo on Saturday night. Harbison posted a video of himself inside the event smiling and laughing with Markle. The Fifteen Percent Pledge, which was founded by Aurora James, is a non-profit organization that encourages retailers to commit at least 15 percent of their shelf space and revenue to black-owned businesses. Chloe Bailey, Kimora Lee Simmons and Winnie Harlow were among the guests in attendance at the gala, which was held at Paramount Studios. Prince Harry did not accompany Markle to the event, though just days earlier, the As Ever founder posted a video of her husband as she brought him sweet treats as he worked in his office. By clicking above you agree to the Terms of Use and Privacy Policy. The video was promoting her latest As Ever collaboration with Compartés Chocolates, which includes her brand's signature raspberry and strawberry spreads along with a collection of chocolate treats. Markle previously wore the elegant strapless midi in November 2018, when she and her husband, Prince Harry, attended the Royal Foundation Dinner at Kensington Palace. Markle and Harry were last spotted together at Sundance Film Festival in Utah last month for the premiere of their documentary “Cookie Queens.” Page Six Hollywood exclusively reported the pair appeared “guarded” during the event and Harry, 41, only “wanted to talk about was his Daily Mail trial.” Last month, Harry testified that wife Markle's royal life was “absolute misery” during his trial against the UK tabloid.

We use vendors that may also process your information to help provide our services. In 2026, it should come as no surprise that a suburban hamlet calling itself “the safest town in America” has a hidden history of violence. I mean, when Minneapolis, Minnesota — a city that's predominant cultural stereotype is rooted in how nice its people are — is too dangerous for parents to trust their kids will make it home from school every day, can any American town be considered truly and simply safe? To her credit, Samira (Keke Palmer) seems to take it that way: The new resident of Ashfield Place, a cul-de-sac nestled within a fictional New Jersey suburb, is immediately, insistently suspicious — as she should be. Crows roost on its dilapidated shingles and fly off simultaneously, like a choreographed murder. Speaking of the M-word, its other meaning is rumored to have happened within the pink five-bedroom with an unfinished basement, resulting in its decades-long abandonment… until now. Related Stories Paul Thomas Anderson Wins DGA Award for Theatrical Feature Film for ‘One Battle After Another' (Complete Winners List) ‘KPop Demon Hunters' and ‘Sinners' Among 2026 SCL Awards Winners Samira's hair-trigger apprehension is a welcome change from her genre-forbearers, whose delayed reactions to obvious threats prove as annoying as they are unnatural; too many scared characters act like they've never seen a horror movie before; Samira acts like she never forgot what Eddie Muprhy said in “Raw.” But the astute self-awareness ends there. Her sudden shifts from on edge to easy-breezy makes “The ‘Burbs” premiere feel like it's setting up a spoof movie. It's not, and the tone never resolves itself. Celeste Hughey's Peacock adaptation is blunt and bland. The eight-episode first season offers plenty of promise early on: Palmer leads a strong cast in what initially appears to reframe Joe Dante's 1989 film — half-a-comedy about suburban malaise, half-a-satire about how privileged paranoia and groupthink can destroy anyone perceived to be different — through the lens of the besieged minority party (in this case, a Black woman). But all that actively regresses after the first hour, and “The ‘Burbs” plods along absent a good point, or any point at all. With a tension-less atmosphere and an affable ensemble, “The ‘Burbs” often feels like a slower, cheaper wannabe-successor to Hulu's hit comic murder-mystery: Call it, “Only Murders in the Neighborhood.” What happened in the movie version doesn't seem to matter to the series: There's a whole new history to the neighborhood, a whole new cast, and a whole new case to crack. (There are plenty of odd little easter eggs, as if there's a huge fandom demanding “The ‘Burbs” reboot be faithful, but don't hold your breath for a Hanks cameo — all you'll get is a photo). The story centers on Samira investigating her creepy new neighbor with her other, slightly less creepy neighbors: The cul-de-sac crew includes Dana Richards (Paula Pell), a retired Marine who never leaves the neighborhood, Tod Mann (Mark Proksch), a rich loner who knows as much about his friends as they don't know about him, and Lynn Gardner (Julia Duffy), a casually racist widow whose good intentions are supposed to make us forget she's introduced by knocking on Samira's car window, ready to run her out of town for being Black in a white neighborhood. Her smug British husband Rob (Jack Whitehall) is the reason they're living on Ashfield Place to begin with: He grew up there — his best friend Naveen (Kapil Talwalkar) still lives down the street — and his parents left them their house after retiring to a cruise ship. Tempted out of New York after a robbery in their building, the Fischers just want to enjoy their blessings… but then the new neighbor (Justin Kirk) calls the cops on Samira for bringing him brownies (aka the same thing Lynn accosted her for), and suddenly their picturesque property feels like it could be a trap. — but it never pushes those questions hard enough to build genuine suspense. But doubts surrounding Dana, Tod, Lynn, and Naveen aren't serious (even Lynn's ignominious introduction gets swept under the rug), and what little there is to find out is held back at the expense of the ensemble. It's hard to appreciate characters who won't open up. It trades in sharp characters, commentary, and comedy for broad semblances of each, be it the image of a haunted house (without any real frights lurking inside), the appearance of a socio-political stance (without ever digging into the racial barriers facing Black residents living in enclaves of white flight), or the impression of a fun time (without enough jokes to fill a good comedy, twists to pay off a good mystery, or insights to deliver a valuable cultural assessment). In perhaps the series' greatest sin, given the envious trio of Palmer, Pell, and Proksch, it's not even a good hang. If community is what really matters in “The ‘Burbs” — a point that could surely resonate right now — then the serious needs to showcase why community matters via its own rewarding group of neighbors. Instead, they seem disposable, like you could find them anywhere, and, worse yet, that tracking them down isn't really worth the bother. Nothing could be further from the truth, which just numbs whatever else “The ‘Burbs” hoped to make you feel. All eight episodes will be released at once. We use vendors that may also process your information to help provide our services.

A former FBI special agent believes authorities may be close to identifying those responsible for Nancy Guthrie's disappearance. Kaplan also pointed out that Friday's investigative efforts, which involved the seizure of a car from Nancy's home, could yield crucial information. The former agent continued, “We haven't heard a lot about people that would come and help or assist Nancy, whether it was home healthcare aides, or just people that would come and maybe take her to the supermarket or to the beauty parlor.” Kaplan noted that if the car has been used by someone other than Nancy, authorities may have seized it for forensic analysis. “If, in fact, this car may have been commonly used, they may have retrieved this car for forensic analysis to see whether or not there is any fiber or hair samples, or GPS tracking to see if, in fact, prior to last Sunday, was this car used by someone to go somewhere?” he added. When asked about his opinion on whether the suspects know Nancy personally, Kaplan said there's “no doubt” the person was familiar with her. This case is on the precipice of being broken wide open.” Is it wide for all the “talking heads” on TV news programs to be making comments about this investigation when a woman's life is at risk? I think it's her daughter Annie/SIL knows something.. in my opinion they were the last to see her and who knows the mom home better than anyone? I just pray that she still with us and comes back home soon May God bless them Save my name, email, and website in this browser for the next time I comment.

Lindsey Vonn‘s Olympic dream is in tatters after she crashed out of the Women's Downhill final. The 41-year-old Team USA skiing legend had taken a huge risk competing just days after announcing she had suffered an ACL rupture on her knee. However, the legendary Olympian crashed near the top of the Olympia delle Tofane course as she misjudged a turn, with her shoulder clipping a gate as she picked up speed. She lost her balance and crashed, with her left leg, which had sustained a significant ACL injury just over a week ago, gave way. NBCUniversal's Coverage Of Milan Cortina Olympics Opening Ceremony Draws 21.4 Million Viewers Winter OIympics Have Familiar TV Feel (Yes, CNBC Still Airs Curling) But Also A Few New Wrinkles Vonn was heard crying out in agony as medical staff surrounded her. It was a devastating sight, as the 2010 downhill Winter Olympic champion, who has won four World Cups in a storied career, left the snow for what is almost certainly the final time. Competing against a field of world-class downhill skiers, Vonn was competing as the 13th of 36 racers in Cortina d'Ampezzo. BBC Sport reporter Chemmy Alcott, a former skier who was often Vonn's competition in the past, was visibly distressed by the event and noted that Vonn was given a standing ovation as the helicopter carrying her took off. Vonn had trained well and set the third-quickest time in practise runs yesterday. She had come out of retirement to put in a series of outstanding performances that placed her among the major favorites for a medal. We included the star, who represented by WMG/IMG in our recent article on potential breakout stars from the Olympics, which began on Friday and runs until February 22. Get our Breaking News Alerts and Keep your inbox happy. True inspiration for any athlete or anyone who needs to overcome anything standing in the way of success. She should have never been out there in the first place. How many Olympics has she been to?? Put her team and home country first. When she tore her ACL, the US Ski Team should've stepped in and said this year‘s Olympics were off the table. She took away a spot from another (healthy) US athlete for her own selfish reasons. 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. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

That's why he just shared a photo of himself with his daughter, Ella (25), and son, Ben (15), whom he shared with his late wife, Kelly Preston. When John shared the photo of himself with Ella and Ben on Instagram, his followers left quite a few comments letting him know what they thought of the pic. One person wrote, “Lucky you all have each other to Love xx” A third person wrote, “❤️I know how you feel. “Beautiful, thank you for sharing dear John ✨️🫶✨️🙏❤️🌹⚘️🌹,” someone else said in a comment. Another fan added, “What a beautiful family, it's so good to see how well you are. My heart is filled with light seeing how well you are. A few others commented on how big Ben has gotten. Another person wrote, “Beautiful children❤️,his son has gotten so tall.” That's not to mention someone else who added, “Ben is getting tall. In August 2019, John opened up to People about Ella and Ben, who were 19 years old and 8 years old, respectively, at the time. While talking about Ella, he said, “She is her own person. She is gracious, generous, poised, graceful and gorgeous. I don't know how she came to be, and I don't take any credit other than just adoring her. As for Ben, his dad noted how many hobbies he was involved in, saying, “He's into gymnastics, tennis, fishing and the computer world, like all the kids.” John also noted how important it is to let children share their thoughts. He added, “I find when you consult them, they can come up with much better ideas than yours.” Save my name, email, and website in this browser for the next time I comment.

Michael Rubin's Fanatics Super Bowl Party was the place to be in San Francisco, Calif., on Saturday. One of the earliest celebs to arrive and make his way down the red carpet at Pier 48 was NFL legend Tom Brady, followed by New England Patriots owner Robert Kraft, New York Giants star Cam Skattebo and Cincinnati Bengals quarterback Joe Burrow. Shortly after, we spotted everyone from influencer Alix Earle — who, along with Brady, has been hopping around to all the hottest Super Bowl parties this week — to singer J Balvin, NFL star Odell Beckham Jr., retired NBA pro Dwight Howard, actor Jamie Foxx and “CBS Mornings” host Gayle King. Of putting together such an A-list guest list this year, Fanatics CEO Rubin exclusively told Page Six that it was “really easy” thanks to the Patriots making it into the Super Bowl. Just a few feet away, “Bloody Valentine” rocker MGK was seen chatting it up with actor Kevin Costner, who became “fast friends” with the singer's close pal, Pete Davidson, at last year's VIP fête. Kendall Jenner was also in attendance — after recently appearing in a Super Bowl 2026 ad for Fanatics Sportsbook — and at one point stopped to snap an unexpected pic with Kraft. Other attendees included Zac Efron, Sofía Vergara, Jon Bon Jovi, Diplo, Kevin Hart, Meek Mill, Lil Baby, Teyana Taylor, Russell Wilson, Shaboozey, Drew Brees, 2 Chainz, French Montana, Reggie Bush, Guy Fieri, Fat Joe, Becky G, Tiffany Haddish, Keegan-Michael Key, Adam Devine, Emma Roberts, Livvy Dunne, Kevin Hart, Danny Amendola, Ja Rule, Lala Anthony, Camille Kostek, Kyle and Kristin Juszczyk and many more. Puerto Rican rapper Bad Bunny, meanwhile, will be headlining the Apple Music Super Bowl Halftime Show, following an opening ceremony by Green Day and pre-game performances from Charlie Puth, Brandi Carlile and Coco Jones. “I just want to have fun, it's going to be a huge party,” the “King of Latin Trap” (real name: Benito Antonio Martínez Ocasio) teased during Apple Music's press conference in San Francisco Thursday. Tune into all the Super Bowl 2026 festivities live on NBC, Peacock, Telemundo and Universo Sunday.

The Studio directors Seth Rogen and Evan Goldberg honored Catherine O'Hara during their acceptance speech for outstanding directorial achievement for a comedy series at the 2026 DGA Awards. O'Hara portrayed movie executive Patty Leigh in Rogen and Goldberg's Apple TV comedy. She appeared in all 10 episodes of The Studio‘s hit first season, and notably earned herself a 2025 Emmy nomination for best supporting actress in a comedy series. Christopher Nolan Kicks Off DGA Awards With His First Presidential Speech, Acknowledging "Our Members Are Having Very Hard Times" DGA Awards: Paul Thomas Anderson Takes Top Honor for 'One Battle After Another' The Beetlejuice actress died Jan. 30 at her home in Los Angeles after a brief illness. “Home Alone honestly is the movie that made me want to make movies in a lot of ways,” he said. Following O'Hara's death, The Studio cast, crew and producers paid tribute to their late star, with Apple TV and Lionsgate Television sharing in a joint statement, “We are all heartbroken by the loss of Catherine O'Hara.” Elsewhere on Saturday night's awards ceremony, Paul Thomas Anderson won the top prize of outstanding directorial achievement in theatrical feature film for One Battle After Another. We're going to take it with the love that it's given and the appreciation of all our comrades in this room,” Anderson said during his acceptance speech, noting “obviously we are up here minus one,” paying tribute to first director Adam Somner, who passed away from cancer in November 2024. Earlier, Christopher Nolan kicked off the night with his first presidential speech since he was elected DGA president, where he acknowledged “that our members are having very hard times.” “Tonight is a celebration of extraordinary work and it should be a very joyful one, but I do want to start by just acknowledging that our members are having very hard times. Sign up for THR news straight to your inbox every day

No score yet, be the first to add. His usage seems less pointed than Boeth's, on account of him being an actual Southerner; Falco might have been born in Pennsylvania, but he grew up near Gurdon, Arkansas, moved east to Memphis as a young man, and has been closely associated with that city ever since (despite spending the past 30 years living in Europe). He's always been on the southern side of the Magnolia Curtain, so he can see what it conceals from those who erected it in the first place: a vibrant culture that extends to food, clothes, literature, and especially music, too often disregarded or overwritten by modern Southerners. No score yet, be the first to add. Or, as he told a combative TV host during a famously tense Panther Burns performance in 1979: “It's all invisible to us.” And by “us” he means not himself or his band, but Memphis in general, the South in general. There are blues people here who don't have exposure, rockabilly artists who don't have any exposure. Panther Burns wanted to jolt their listeners into seeing those invisible people—those old blues and rockabilly artists whose innovations defined the city's culture even after they were forgotten. At any given moment each musician in the band might be playing at a different tempo or in a different key altogether, or hell, they might be playing a completely different song. Panther Burns weaponized their amateurism, but never condescended to the source material: Falco wanted to make that old music as culturally disruptive in the late 1970s as it had been in the late 1950s. The best way to do that, he reckoned, was volume and chaos. That strategy was evident enough in his first public appearance, when the man born Gustavus Nelson gave birth to a legend named Tav Falco. The scene takes place on the afternoon of October 1, 1978, at the Orpheum Theatre, then a rundown building with broken seats and peeling paint, lacking heat and constantly in danger of demolition. It was, in other words, a perfect symbol of the city's withering music industry. Elvis had died, and while his death eventually inspired a morbid, kitschy cottage industry, he was still dead. Stax had closed, shuttered by some shady dealings by Atlantic in New York and Union Planters Bank in Memphis. In a downtown emptied by white flight and recession, the Orpheum was used primarily for DIY events, which is why Jim Dickinson chose the spot for a series of shows celebrating local music. Midway through Mud Boy's mock send-off, Falco wandered onstage looking like a punk Charlie Chaplin: pencil-thin mustache, tattered tuxedo, and frayed, fingerless gloves. Strumming an out-of-tune guitar, he delivered a crude and shrill yet impassioned cover of Lead Belly's “Bourgeois Blues.” He caterwauled the chorus—“It's a bourgeois town!”—as an accusation to a city that was ignoring its greatest resources, namely its legacy of blues, country, rockabilly, gospel, and plum weird shit. He then set his Silvertone down on a chair, produced a chainsaw seemingly out of nowhere, and set about loudly splintering the still-plugged-in guitar. Nobody could have known at the time, but that performance was a prophecy of the city's future, where artists would become the primary stewards of Memphis music history, rampaging through old blues, rock, soul, and gospel. They rounded out the group with some local professionals (like bassist Ron Miller, a member of the Memphis Symphony) and some friends unburdened by musical talent (like drummer Ross Johnson, who by his own admission was no drummer). “I'm really not even a musician,” Falco explained to Memphis' Commercial Appeal. “I just make music and play upon the guitar.” That band name—Panther Burns, sometimes the Unapproachable Panther Burns—comes from a town deep in the Mississippi delta, about an hour south of Memphis. Falco knew about its lore, how a panther once stalked the community for months. The animal was so massive and powerful that its mighty tail swept loose the earth behind it, erasing its footprints and making it impossible to track. Finally the local sharecroppers trapped the beast in a cane break, which they set on fire rather than kill it by hand. For their cowardice they suffered a long night listening to its dying shrieks. Falco wanted the band to make music that sounded like the cries of a conflagrating cat; he wanted to keep folks up at night. Just four months after that Orpheum performance, Falco and his new band played their first show at 96 S. Front Street, an old cotton exchange building that had once housed a segregated “soft drink” establishment and an off-the-books whiskey service in the 1920s but had sat empty for decades. Besides the Orpheum, there weren't many places in Memphis where punk and no wave or new wave bands could play, so they had to create venues for themselves in the vacant historic buildings overlooking the Mississippi River. Some folks left plugging their ears, but enough stayed to crowd the stage. Realizing he was boxed in, Chilton stepped to the side, unzipped, and relieved himself mid-song. Onstage, Falco appeared like a man from another time, cajoling his audience and even calling them “lackeys of the running dog imperialists.” Away from the stage, however, their mission to illuminate the dark corners of Memphis history through volume proved much more daunting. That single caught the ear of Rough Trade founder Geoff Travis. He encouraged Panther Burns to record and submit a full album of material, so they booked time at Sam Phillips Recording Services. (Those recordings were released in 1992 as The Unreleased Sessions.) Falco and Panther Burns regrouped and booked two three-hour sessions at Ardent Records in Midtown, once hectic with overflow from Stax but now booking sessions with national acts like ZZ Top. They took a first-take, best-take approach to recording, not necessarily racing through the songs but certainly not taking their time to get everything just right. Sex—once so repressed by polite society that it bubbled up in disreputable music—motivates many songs, especially on the first side. Their cover of Page's “She's the One That's Got It” plays coy with its subject matter, especially when the band begs him to elaborate. Somehow it sounds racier than if he were more explicit. That weird discretion makes his takes on “Come On Little Mama” and “Hey High School Baby” less troublesome than, say, the Stray Cats' “She's Sexy +17,” which far too eagerly broadcasts its lecherous designs. Those historical re-enactors from Massapequa were taking rockabilly back into the Top 10, but lesser-known bands like the Blasters and, in particular, the Cramps were cratedigging for left-of-center inspiration and putting their own indelible stamps on old blues and rockabilly numbers. Behind the Magnolia Curtain, though, sounds like an album that could only have been made in Memphis by artists steeped in local lore, by folks who drove by the boarded-up Stax building every day, who maybe bumped into Furry Lewis sweeping up on Beale Street, who knew where all the bodies were buried. It's full of big ideas, but never sounds brainy or abstract. There's an intimacy with the source material, but also a sense of immense possibility. Falco invited members of the Tate County Mississippi Drum Corps up to Memphis to play on the record, and you can hear their booming bass drums and slithering snares on their version of R.L. This melding of punk and fife-and-drum blues has inspired locals for years, including one-time Panther Burns guitarist Lorette Velvette (“Come On Over”) and the Oblivians (“I May Be Gone”). A few members played only one show, others even less. Chilton left the band not long after recording Magnolia Curtain, but his short tenure invigorated him: You can hear him tinkering with these ideas throughout his career, especially on his 1979 solo debut, Like Flies on Sherbert. Finding intention in inscrutability, he forged a way forward. For Falco, it was impossible to sustain that chaos of possibilities, and not just because the musicians in Panther Burns couldn't help but hone their chops. Folks get used to loud and bad, they adjust to the din, so the visible becomes invisible once again. His subsequent albums, including 1987's excellent, Chilton-produced The World We Knew, burrow deeper into his own persona, which is eccentric and mysterious in a specifically Southern way. With Behind the Magnolia Curtain, he showed generations of locals how they might rediscover and redefine Memphis music, how they might draw back the curtain once more. Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

President Donald Trump is showing support for the pending Nexstar–Tegna merger. Letting Good Deals get done like Nexstar – Tegna will help knock out the Fake News because there will be more competition, and at a higher and more sophisticated level,” the president wrote. Rotten Tomatoes Confirms 'Melania' Audience Score Is Real, Biggest Split With Critics Ever In August, Nexstar and Tegna entered a definitive agreement for a merger, which would see the former company emerge with 265 local TV stations in 44 states and the District of Columbia and 132 of the country's 210 television DMAs, or Nielsen's Designated Market Areas. And while the merger hasn't been approved yet by the FCC, chairman Brendan Carr reshared Trump's social media post in support of said deal on Saturday. “The national networks like Comcast & Disney have amassed too much power. For years, they've been pushing this Hollywood & New York programming all over the country with no real checks.” The FCC chairman concluded, “Let's get it done and bring real competition to them.” Nexstar CEO Perry Sook released a statement in November, where he argued, “Nexstar's acquisition of TEGNA will provide us with the scale necessary for local journalism to thrive amidst a media landscape that is dominated by Big Tech and the legacy media companies, enabling us to continue not only investing in high-quality journalism and local news, but in serving our local communities in the best possible way.” “To be clear, in an age of disinformation and political agendas, we are the anti-fake news,” Sook said. “Our news is delivered by trusted, familiar voices — journalists who live in the community — not a chatbot or social media influencers. Trump recently weighed in on another major merger currently dominating Hollywood, that of Netflix and Paramount Skydance's battle to acquire Warner Bros. Warner Bros. subsequently denied Paramount's offer, which led the David Ellison-led company to file a lawsuit, seeking more information about how they settled on accepting Netflix's offer. Sign up for THR news straight to your inbox every day

The Backstreet Boys bring a fun, reimagined version of “I Want It That Way” to T-Mobile's 2026 Super Bowl commercial, which they filmed in New York City with a snowstorm looming. “We were hit with the winter storm right at the exact same time we were supposed to start filming,” BSB's Nick Carter revealed in an interview with Billboard's Tetris Kelly, noting, “There was a lot of adjustments that were being made at the time because we were supposed to do a two-day shoot.” As Carter shared, “It was a lot of fun, but it was also a lot of work — good work. Everybody was really creative.” He added that the group and the commercial's production team bounced ideas off of each other, while bandmate Kevin Richardson chimed in, “It was a great collaboration.” “This spot is about asking Americans to pause and think about what their wireless provider actually does for them,” said Lucy McLellan, chief brand and communications officer at T-Mobile, in a statement about the ad. The takeaway is simple: it's better over here.” Druski and Pierson Fodé are also featured in the spot, which was directed by Steve Pink and produced by creative team Andrew Panay, Brian Klugman and Nate Tuck, with Kevin Anderson as editor. Also among the talent was a young actor who was a pro through a commercial shoot that went late into the night due to the weather-adjusted timeline, AJ McLean recalled; her moment was opposite Machine Gun Kelly, who makes a comedic cameo at the end of the ad: “We knew that MGK had not started filming yet, and we had wrapped close to 2 a.m. and he hadn't even started filming his bit yet,” McClean said. Ahead of getting on set, the Backstreet Boys put in time in the studio to record some new, funny lyrics to “I Want It That Way,” written specifically for the T-Mobile commercial. Watch T-Mobile's Super Bowl commercial with the Backstreet Boys below, followed by Billboard‘s premiere of their bloopers and a behind-the-scenes video of the group's on-set experience. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Billboard is a part of Penske Media Corporation.

We use vendors that may also process your information to help provide our services. With Oscars voting in full swing, and awards season entering its final stretch, tonight's Directors Guild of America Awards marked one of the last benchmarks in a tight race for Best Director. Also competing in the 2026 DGA theatrical feature film category tonight was Guillermo del Toro (“Frankenstein”). Related Stories ‘KPop Demon Hunters' and ‘Sinners' Among 2026 SCL Awards Winners Cracked Cult Rom-Com ‘Love on a Leash' Dares to Ask: Should You Fall for a Toxic Golden Retriever? This year's guild honorees reflected marquee auteurs as well as an eclectic slate of first-time directors, including Hasan Hadi (“The President's Cake”), Harry Lighton (“Pillion”), Alex Russell (“Lurker”), and Eva Victor (“Sorry, Baby”), and race winner Charlie Polinger (“The Plague”). WINNER: Paul Thomas Anderson, “One Battle After Another”Ryan Coogler, “Sinners”Guillermo del Toro, “Frankenstein”Josh Safdie, “Marty Supreme”Chloé Zhao, “Hamnet” WINNER: Matthew Gangl, 2025 World SeriesSteve Milton, 2025 Masters TournamentRich Russo, Super Bowl LIX Lucinda M. Margolis, “Jeopardy!”Adam Sandler, “The Price is Right”WINNER: Mike Sweeney, “Conan O'Brien Must Go” Scorsese” Alexandria Stapleton, “Sean Combs: The Reckoning” Matt Wolf, “Pee-wee as Himself” 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.

It's like the old proverb says: How can you win the hearts and minds of a nation if you can't even keep Shinedown on your side? Such is the plight of Kid Rock's Rock The Country music festival, which has just added the Florida-based rock band to its list of recent festival dropouts. At the same time, outlets like Complex are reporting that the festival has just canceled what was supposed to be one of the 8 shows of its 2026 tour, dropping out of a July weekend appearance in South Carolina. It's not clear if the two incidents are related, with representatives for Kid Rock and Rock The Country so far not deigning to speak on the topic. Shinedown, which issued a statement on social media today asserting that Shinedown refuses to be drawn into fractious political debates: We feel that we have been given a platform to bring all people together through the power of music and song. We have one BOSS, and it is everyone in the audience. Our band's purpose is to unite, not divide. We know this decision will create differences of opinion. News of The Shinedown Withdrawal follows earlier reports that Ludacris had either dropped out of the shows, or never intended to be part of them in the first place. (Local authorities have told journalists that they weren't given any motivation for why the festival pulled out.) But it's obviously pretty hard to disconnect the festival from the wider political divides in America at the moment, especially because Rock himself won't really let you, what with his endless efforts to associate himself with the Donald Trump regime—including headlining this week's Turning Point USA “All-American Halftime Show”—in ways that are definitely turning up the political heat surrounding the festival. Recommended for You1Explaining the timelines and Targaryens of that Knight Of The Seven Kingdoms twist2Unsurprisingly irate theatre owners condemn Netflix's "catastrophic" WB acquisition3Salman Rushdie became a martyr, but Knife makes him human again4Industry's Sagar Radia on Rishi's fall5Going broad and selling out, The Moment imagines the end of an Eras Tour

The South Carolina stop originally announced as part of an eight-city trek has been removed from Rock the Country's website. No specific reason for the cancellation was stated. Rock the Country's lineup varies by date, with Kid Rock, Jason Aldean, Blake Shelton, Jelly Roll, Brooks & Dunn, Riley Green, Miranda Lambert, Hank Williams Jr., Ella Langley, Lynyrd Skynrd, Jon Pardi, Brantley Gilbert and dozens more artists set to perform throughout the tour. While event organizers have not explicitly stated any political affiliation, headlining performers Aldean and Kid Rock have both been vocal supporters of President Donald Trump. Kid Rock and Brantley Gilbert are appearing at Turning Point USA's upcoming “All-American” alternative halftime show, set to broadcast opposite the NFL's official Super Bowl Halftime Show starring Puerto Rican superstar Bad Bunny, whose Debí Tirar Más Fotos was recently the first all-Spanish album to win album of the year at the Grammy Awards. We feel that we have been given a platform to bring all people together through the power of music and song. We have one boss, and it is everyone in the audience. Our band's purpose is to unite, not divide. With that in mind, we have made the decision that we will not be playing the Rock the Country festival,” Shinedown said in a statement posted on its social media pages on Feb. 6. The group stated, “We know this decision will create differences of opinion. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.