Outside Lands announces Tyler, The Creator, Hozier, Doja Cat as 2025 headliners
Tyler, The Creator returns to the festival's line-up after canceling his appearances at both Outside Lands and Lollapalooza last year for undisclosed "personal reasons." The rapper
made the announcement in June
. Sabrina Carpenter ended up filling in at the 2024 edition of the festival to wide acclaim.
Other acts high on the bill include DJ/producer John Summit, modern R&B juggernaut Anderson .Paak & The Free Nationals, indie-rock favorites Vampire Weekend and Glass Animals, British soul vocalist Jorja Smith, singer-songwriter Gracie Abrams electronic acts Jamie xx, Floating Points and Gesaffelstein, influential producer Jack Antonoff with his band Bleachers and hip-hop stars Doechii and Ludacris. The Bay Area sees some representation with the inclusion of local acts like songwriter Still Woozy, rapper LaRussell and Sacramento punk band Destroy Boys.
Organizers stressed that the lineup is subject to change. The schedule outlining the days and times acts perform will be released closer to the event, which will take place August 8-10.
Tickets for the three-day event will go on sale to the general public on Wednesday, March 26 at 10 a.m. PT
at the event's website
. Three-day general admission (GA) tickets are $499 with fees included. 3-day GA+ tickets and 3-day VIP tickets will also be available at higher price points. The festival is again offering payment plans for those who prefer to pay in installments starting at $99 down.
As in past years, tickets are expected to sell quickly. On March 5, early "Eager Beaver" presale tickets for Outside Lands
sold out the same morning
.
Since it started in 2008, Outside Lands has become one of the city's major musical events. The festival typically draws more than 200,000 people to Golden Gate Park over the course of the weekend, generating millions for the city's Recreation and Park Department, as well as the economic benefits created by concertgoers spending in the city.
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Los Angeles Times
28 minutes ago
- Los Angeles Times
‘The Twisted Tale of Amanda Knox' dramatizes the events around a case that drew a media spectacle
Amanda Knox, who became an international headline in 2007, when, as an American student spending a year in Perugia, Italy, she was (wrongly) accused of the murder and sexual assault of her British roommate, Meredith Kercher, is now the subject, and executive producer, of 'The Twisted Tale of Amanda Knox,' an eight-part docudrama premiering Wednesday on Hulu. (Her boyfriend of one week, Raffaele Sollecito, also wrongly accused, does not seem to have garnered similar attention, which might tell you something about misogyny in the prurient press, and its audience.) The 'Twisted Tale' in the title — odd for a story of murder, rape and false imprisonment — suggests that we're about to see something sort of delightful, like 'The Marvelous Misadventures of Flapjack' or 'The Epic Tales of Captain Underpants,' an impression underscored by a prologue in the style of 'Amélie,' the whimsical French film the couple was elsewhere watching on the night of the murder; it ties the victim, the accused and her prosecutor/persecutor together in a sort of fairy tale. Like the very long end-title 'any similarity' disclaimer, concluding 'The series includes Amanda Knox's perspective on events related to the murder of Meredith Kercher,' it allows the series to be something less than true: a tale. People tell themselves stories to live, to haul out that Joan Didion quote once again, which unavoidably requires making up stories about other people. These events involved a lot of people, only one of whom is an executive producer of this series, based on her memoir, 'Waiting To Be Heard.' (Knox co-wrote the finale, as well.) One assumes that some of those other people might see this project as exploitation, or object to how they've been represented, though any dissenting voices will be drowned by a publicity machine that will market this as a true story, disclaimer aside. In light of the series, Knox has been recently profiled in the New York Times, alongside star Grace Van Patten, and in the Hollywood Reporter, alongside fellow executive producer and scandal survivor Monica Lewinsky, who encouraged her to make the series. These are qualities — faults? — 'Twisted Tale' shares with every docudrama ever, a problematic genre much beloved by filmmakers and actors; still, as frequently as such projects arise, especially in the age of true crime, we wouldn't still be talking about 'Citizen Kane' today if it simply had been 'Citizen Hearst.' We should at least keep in mind as responsible viewers and citizens that what we're seeing here, however factual in its crucial points, scrupulous in its details, and engaging in its philosophy, and however faithfully the actors embody their real-life models, it's unavoidably an impression of the truth, built out with imagined scenes and conversations and made to play upon your feelings. It isn't journalism. And to be clear, when I speak of these characters below, I'm referring only to how they're portrayed in the series, not to the people whose names they share. Created by K.J. Steinberg ('This Is Us'), the series is well-acted, well-written, impressively mounted, tonally contradictory, chronologically disjointed, overlong, stressful, exhausting, interesting both for its subject and stagecraft, and briefly inspirational, as Amanda (Van Patten) — arrested, jailed, convicted, acquitted, re-convicted and definitely re-acquitted — becomes a voice in the innocence movement ('My freedom mattered and I was going to make the most of it as long as I had it') and returns to Italy, a wife and mother, for something like closure. Echoing the 2016 Netflix documentary 'Amanda Knox,' which tells the story (up to that point) in a streamlined but thought-provoking 90 minutes, there has been some care to represent different points of view, with episodes dedicated to Raffaele and prosecutor cum investigator Giuliano Mignini (Francesco Acquaroli), also introduced 'Amélie'-style. (As to Kercher, we hear only that 'she likes to sunbathe and dance and read mystery novels' — though anything more would be presumptuous.) Raffaele, the superhero-loving son of a troubled mother, made himself into a 'protector.' Mignini, who lost a brother to 'lawlessness,' sees his work as heaven-sent — though he was also inspired by Gino Cervi as Georges Simenon's detective hero in the 1960s TV series 'Le inchieste del commissario Maigret.' (He adopts that character's pipe and hat.) 'I made a vow to God,' he says, narrating, 'no matter the disapproval or dissent, deviant, ritual murders would not go unpublished on my watch.' On the basis of Amanda being a loud American, and a self-described weirdo, whose response to news of the murder struck some as insufficiently emotional; from bits and pieces of supposed physical evidence, later discounted; and from Mignini's own notions — including his feeling regarding the body, that 'only a woman would cover a woman with a blanket' — the police quickly assemble an elaborate, completely imagined theory based on a sex game gone wrong. (That Knox was in possession of a vibrator and some condoms and brought men to the apartment she shared with Kercher and two Italian girls seemingly branded her, in 2007, as a pervert.) Subjected to an extremely long interrogation without adequate representation in a language she imperfectly understands, and in which she has trouble making herself understood — detective superintendent Monica Napoleoni (Roberta Mattei) is the angry Javert — Knox signs a false confession that also implicates her sometimes boss, Patrick Lumumba (Souleymane Seye Ndiaye). She quickly recants, to little avail. (Knox has not been acquitted of slandering Lumumba.) That the actual killer is arrested, and convicted, merely causes the police to rewrite their story a little, while still focusing on Amanda and Raffaele. The press runs leaks and accusations from the authorities; and a fascinated public eats it up, spitting out opinions onto social media. Director Michael Uppendahl employs a variety of styles to get the story told. Some scenes are so natural as to seem improvised; others employ heavy tactics — an assaultive sound design, flash cuts — to evoke the pressure Amanda is under, from both the self-satisfied authorities and a hectoring press. (Paparazzi is an Italian word, after all.) Stirring music underlies her final statement to the court; a letter sent by Amanda to Mignini is lit from within, like the deadly glass of milk in Hitchcock's 'Notorious.' While not inappropriate to a story in which fictions swamp facts, these zigs and zags can pull you out of the story rather than drawing you deeper in. As Amanda, Van Patten (of the Van Patten acting/directing dynasty — Dick, Joyce, Tim, Vincent, with Grace's sister Anna playing Amanda's younger sister) is quite remarkable, switching between English and an ever-improving Italian. Acquaroli, quietly astonishing, brings humanity and the merest touch of weary humor to his stubborn policeman. Sharon Horgan plays Amanda's intense, demanding mother, with John Hoogenakker as her more subdued father. In a scene pulled straight from the 'Amanda Knox' documentary, a reporter asks him when there'll be a film: 'The longer you wait the less her story is going to be worth.' 'We do not think of our daughter as a hot property,' he replies. Meta.
Los Angeles Times
an hour ago
- Los Angeles Times
Ozzy Osbourne's family wants to ‘wait a bit longer' before airing documentary, BBC says
The BBC has offered an explanation for its recent decision not to air a documentary about late rock legend Ozzy Osbourne. In a statement to BBC News on Tuesday, the British broadcaster said it opted to hold back the documentary centered on the musician's final years out of respect for Osbourne's loved ones who are still mourning the Black Sabbath frontman's death. Osbourne died July 22 of a heart attack at the age of 76. 'Our sympathies are with the Osbourne family at this difficult time. We are respecting the family's wishes to wait a bit longer before airing this very special film,' the BBC said, adding that it will confirm a new air date 'shortly.' BBC turned heads on Monday after it pulled 'Ozzy Osbourne: Coming Home' from its programming lineup before it was supposed to air later that evening. A BBC spokesperson confirmed to several outlets that the film 'has moved in schedule' and that the broadcaster would confirm details about a new air date 'in due course,' but did not provide a reason for the pivot. Osbourne, who lived with Parkinson's disease, died two weeks after his farewell concert at his hometown of Birmingham, England. The BBC announced its documentary on Aug. 7, revealing that 'Ozzy Osbourne: Coming Home' would chronicle the English rockstar's final years, from his health issues to the preparations for his grand finale. The documentary was filmed over three years and also features Osbourne's wife Sharon Osbourne and children Kelly and Jack Osbourne. The pair also have another daughter together: Aimee Osbourne. The documentary started out as a series, then titled 'Home to Roost,' but evolved into a one-hour film due to the rocker's deteriorating health. 'We hope it brings comfort and joy to Ozzy's fans and viewers as they remember and celebrate his extraordinary life,' BBC Head of Commissioning, Documentaries, Clare Sillery said in August. Osbourne was laid to rest in Birmingham during a private funeral last month. A public celebration of Osbourne's life preceded the burial. Thousands of Black Sabbath fans honored the musician's legacy as his hearse, followed by his wife and children, made its way through Birmingham, the Associated Press reported.
New York Post
an hour ago
- New York Post
Ancient Roman mosaic in Sicily reveals ‘extraordinary' find resembling modern footwear
An ancient Roman mosaic has recently revealed a millennia-old depiction of flip-flops – showing that certain footwear has always been in style. The discovery was announced by the Archaeological Park of Morgantina and the Villa Romana del Casale on Aug. 4. The villa, an ancient Roman estate, was designated a UNESCO World Heritage Site in 1997 and is located in Piazza Armerina, a central Sicilian town. The villa is famous for holding the largest collection of Roman mosaics in the world. 'During recent excavation work, two sandals depicted in a mosaic were discovered, resembling modern flip-flops,' said a statement translated from Italian about the newly unearthed mosaic. Found in a bath complex, the mosaic dates back to the fourth century A.D. 'These are not simple decorations, but rather a refined work created by a mosaic artisan of the fourth century, part of a larger mosaic design that adorned the southern bath section of the Villa.' Officials said that the 'extraordinary' finds are helping to enrich 'the already vast archaeological heritage of the site.' 3 A mosaic featuring footwear that look like flip-flops was discovered at Archaeological Park of Morgantina and the Villa Romana del Casale in Sicily. Archaeological Park of Morgantina and the Villa Romana del Casale In addition to the flip-flop find, officials also found a mosaic inscription, as well as three columns with their ornate capitals intact. 'These discoveries once again confirm the exceptionally high artistic and architectural level of the Villa, as well as the importance of the ongoing excavations for the historical and cultural reconstruction of the site,' officials said. '[They] not only expand knowledge of the Villa Romana del Casale, but also highlight the value of archaeological research as a fundamental tool for rediscovering and telling the stories of the cultures that preceded our own.' 3 The ancient remains of the Baths of Villa Romana del Casale. De Agostini via Getty Images 3 Roman mosaics seen at the Villa Romana del Casale. Planet One Images/Universal Images Group via Getty Images The mosaic isn't the only ancient Roman fashion find that has turned up in recent months. Earlier this spring, an excavator found a piece of chunky Roman jewelry in the British countryside. At the time, archaeologists said the eight-sided ring was 'an uncommon find in the U.K., but not entirely without precedent.'
