logo
Chappell Roan And Elton John Perform Pink Pony Club Duet At Oscars After-Party

Chappell Roan And Elton John Perform Pink Pony Club Duet At Oscars After-Party

Yahoo04-03-2025

Cynthia Erivo and Ariana Grande's long-awaited duet, Queen Latifah's tribute to Quincy Jones and Raye, Doja Cat and Lisa's homage to James Bond were all musical moments that got the world talking during this year's Oscars.
But it turns out the performance of the night didn't actually take place until after the ceremony.
On Sunday evening, Sir Elton John held his annual Oscars after-party, where woman of the hour Chappell Roan was his musical guest.
And it's been revealed that during the party, Sir Elton and Chappell performed an impromptu duet of her signature hit Pink Pony Club.
Footage posted on social media by The Hollywood Reporter showed the Good Luck, Babe! singer on stage with the music icon, who sported a pink fringed cowboy hat for the occasion.
And while admittedly Chappell may have carried most of the vocals, an eager Sir Elton was heard joining in on the chorus.
Elton John joins Chappell Roan on the stage to perform 'Pink Pony Club' at his AIDS Foundation #Oscars after party pic.twitter.com/hZucbxCXgP
— The Hollywood Reporter (@THR) March 3, 2025
Pink Pony Club was actually released back in April 2020, but has really begun to pick up steam in the past 12 months.
In the last few months, Chappell sang Pink Pony Club on both Saturday Night Live and during her debut Grammys performance, where she was also honoured with Best New Artist.
On Sunday evening, the Official Charts Company revealed that Chappell could be about to score her first ever UK number one with Pink Pony Club, taking over from Kendrick Lamar's Not Like Us, which is enjoying a resurgence of its own off the back of the Super Bowl.
Chappell also scored her first Brits wins over the weekend, picking up awards in both the International Artist and International Song Of The Year categories for Good Luck, Babe!.
Doja Cat Shares Defiant Message After Facing Criticism Over Her Oscars Performance
Sabrina Carpenter's 6-Word Response To Brits Performance Controversy
Lola Young Sets The Record Straight After Her Reaction To Losing A Brit To Jade Goes Viral

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Why Mindy Kaling Took A Break From Acting
Why Mindy Kaling Took A Break From Acting

Buzz Feed

time5 hours ago

  • Buzz Feed

Why Mindy Kaling Took A Break From Acting

At this point, Mindy Kaling is an undeniable multihyphenate. From Never Have I Ever and The Sex Lives of College Girls to Velma and Running Point, it honestly feels like we've gotten a show that she's created or written every time we switch on our TVs. Mindy's been so ever-present behind the scenes that it's honestly been easy to forget that we were all introduced to her as an actor — especially in the classic NBC TV show The Office (which, to be clear, she also wrote for). These days, however, Mindy isn't in front of the camera all that often. She's done some voice work on Velma and Monsters at Work, and she's made the occasional appearance on The Morning Show, but that's about it. During a recent public appearance (via The Hollywood Reporter), Mindy addressed her recent absence as an actor — especially when it came to making a cameo on Never Have I Ever, which she ultimately decided not to do. 'A show literally about an Indian American family in Southern California, and if I wasn't on that—what's wrong with me?' she joked. 'I think there is a part of me that feels a little superstitious,' she continued. 'I'm like, these seem to have gone well and I'm not in them so maybe I'll wait.' Mindy also admitted that she does "miss" acting, and that she "would like to write or co-create a show for me to act in soon" — particularly because doing so would be 'unbelievably fun and it's so efficient.' 'I would love to do that again,' she said. 'That's the thing that maybe in the next couple years, when I launch a couple other things that are earlier in the pipeline, that would be something that would be fun to do again.' We'll see what happens!

The soul of The Last of Us is in Gustavo Santaolalla's music
The soul of The Last of Us is in Gustavo Santaolalla's music

The Verge

time11 hours ago

  • The Verge

The soul of The Last of Us is in Gustavo Santaolalla's music

When fans nervously tuned in to watch HBO's adaptation of one of their favorite video games, there was one familiar presence that immediately calmed their nerves: the mournful guitar of Gustavo Santaolalla. As certain story beats changed and beloved polygonal faces were replaced with new actors, the beating heart of The Last of Us — its mesmerizing, tension-ridden score — survived the transition to TV intact. '[Series creator] Neil Druckmann has said that my music is part of the DNA of The Last of Us,' Santaolalla says. 'I think the fact that we kept the sonic fabric — that we didn't do an orchestral score for the series — has been instrumental in keeping those fans of the games fans of the series, too.' Born and raised in Buenos Aires, Santaolalla first started releasing music when he was 17. Loving both English rock bands and the traditional Argentine folk music that he was raised on, Santaolalla melded both into his own unique sound, part of a genre called rock nacional. Before he could fully make his mark, Santaolalla's family fled the Argentine junta dictatorship in 1978, moving to Los Angeles, where his unique sound soon caught the attention of filmmakers. Snapped up to score the 2000 film Amores Perros and 2003's 21 Grams, their success led to Santaolalla composing the soundtracks for Brokeback Mountain and Babe l, both of which won him Oscars. Santaolla's sonic secret? Embracing the eloquence of silence. 'I work so much with silence and space, because silences sometimes can be louder than a note that you're playing,' says Santaolalla. 'I remember on Brokeback Mountain when I first sent them the music, the producer said 'I thought you were pulling my leg at first, because you wait so long to play the next note!'' 'Silences sometimes can be louder than a note that you're playing.' After winning two Oscars back to back, Santaolalla carefully considered his next career move. Despite being a self-professed 'terrible gamer' Santaolalla tells me he always loved watching his son play, mesmerized by the on-screen kineticism. 'I always thought that if somebody connects this at an emotional level with a player, it's going to be a revolution.' It turns out, the universe had picked up on Santaolalla's newest interest. Post-Oscars, he was approached by several game companies to do music, but turned them down because 'I'm very picky about the work that I do.' That includes a lucrative gaming project that he is careful not to name. 'Everyone thought I was crazy!' he chuckles. Still, Santaolalla quietly hoped that a more emotionally-resonant project would materialize. 'So, I waited… and then Neil appeared,' Santaolalla says. 'When Neil told his colleagues that he wanted me to do this, [his colleagues ] said, No, Gustavo is not going to be interested — he won two Oscars! But when Neil [told me] the story, and that he wanted to do a game that connects with people on an emotional level… I was sold. What even Neil Druckmann wasn't prepared for, however, was that Gustavo's music would become just as crucial a presence as Ellie and Joel. In a post apocalyptic world where life is scarce and danger lurks around every corner, silence hangs in the air like a threat. Santaolalla's scuffed notes, discordant melodies and screeching fret slides reverberate across the dilapidated city streets, feeling as unpredictable as the world Ellie and Joel inhabit. 'I love the use of imperfections, even errors or mistakes.' 'I love the use of imperfections, even errors or mistakes,' Santaolalla explains. 'Any professional guitar player when they're recording tend to avoid all kinds of noises; when you run your hand on the fretboard or little glitches in your playing. But sometimes, I'll push those in my mix, and I think that humanizes it. That's why many people have said that my music becomes like a character — a presence. It's why I play things myself.' In the second game, Gustavo's music becomes a physical part of the fiction, with Ellie carrying a guitar throughout her quest for vengeance. She takes out the instrument during welcome moments of downtime, offering cathartic respite. And just like Gustavo's score, these beautiful vignettes break up the harrowing silence, which carries through in the second season of the show. 'I love the TV series too,' says Santaolalla. ' For the show, Neil associated himself with another incredible talent, Craig Mazin — the guy that did Chernobyl — who knows that media and that language. I think it was a big, big challenge, because when you go from one media to another one, people say no, I like the original better! So, I think, once again, that the way we have used the music has been instrumental to keep that fan base attached.' He adds that 'I think that when a story is really great, like a theatrical piece — like Shakespeare — it doesn't matter who plays the character. Obviously Pedro Pascal's Joel is different than the Joel from the game, but the substance of the character is so powerful that those things are just superficial. They could have done this as a series, as a feature film, as a puppet theatre piece, or an animation and it will still land regardless — because it's just great writing.' Now as Santaolalla finds himself releasing his very own instrument — the Guitarocko — it feels like the culmination of the musical journey he started as a teen. Melding the traditional Bolivian 10 stringed ronroco with the form factor of a Fender Stratocaster, Gustavo feels a father-like pride for his musical creation: the 73-year-old is invigorated by what The Last Of Us has given him at this stage in his career. 'I've been blessed with the fact that I have connected with an audience since I was very young,' he says. 'But the way I connect with the fans of The Last of Us and the way they connect with the music… here's a special devotion that is really beautiful. I have this new audience which is fantastic, and I love that they didn't know me as an artist or as a film composer! Now they look for my music, and they discover these things. It's been a gift for me, at this point — after everything that I've been through — to be involved with a project like this.'

The Director of ‘Mission: Impossible — The Final Reckoning' Unpacks Key Moments
The Director of ‘Mission: Impossible — The Final Reckoning' Unpacks Key Moments

New York Times

time17 hours ago

  • New York Times

The Director of ‘Mission: Impossible — The Final Reckoning' Unpacks Key Moments

Christopher McQuarrie was a 27-year-old former movie-theater security guard when he won the Oscar for best screenplay in 1996 for 'The Usual Suspects.' Things went a little pear-shaped from that early peak, as they tend to do in Hollywood, and the Princeton, N.J., native was looking to leave the industry altogether when he piqued Tom Cruise's interest for another script that became the 2008 Hitler-assassination drama 'Valkyrie.' It was the start of a professional relationship that has culminated in McQuarrie, now 56, directing and co-producing the past four films of the 'Mission Impossible' franchise, including 'Mission: Impossible — The Final Reckoning,' in which Cruise famously stars as the unsinkable (and seemingly unkillable) special agent Ethan Hunt. Recently, McQuarrie spoke with The Times in New York and later via video call from the back of an SUV in Mexico City about the choice to make A.I. the villain, the question of whether the franchise is coming to an end, and a 'gnarly' secret Tom Cruise movie in the works. Here are edited excerpts from those conversations. When did the decision come that 'Dead Reckoning' and 'Final Reckoning' would be the final two films in the franchise? Over the course of 'Rogue Nation' [2015], 'Fallout' [2018] and then 'Dead Reckoning' [2023], we were delving deeper and deeper into the emotions of the characters and their arcs. I said, 'Look, we know that it's going to be a long movie, let's just cut it in half.' I understand the irony of me saying we were going to make two two-hour movies and we ended up making these two much, much bigger ones. But we didn't really think of it as being the conclusion of anything until we were about halfway through 'Dead Reckoning.' Over time, we started to feel that this is a movie about the franchise more than just about the mission. Want all of The Times? Subscribe.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store