The Kendrick Lamar and Drake beef that led to Not Like Us, explained
The year 2024 saw one of the biggest rap beefs of all time go down with a VERY CLEAR WINNER.
It was Kendrick Lamar vs. Drake, with the two trading off songs that eventually led to Not Like Us, which is now a Grammy-winning Song of the Year, with everyone singing very NSFW lyrics that dump on Drake.
So where did all of this come from? For that, you need to read our guide to the Kendrick Lamar and Drake beef, but here's a quick summary: Drake dropped First Person Shooter with J. Cole that called out Lamar, who then responded on WE DON'T TRUST YOU. Drake lobbed back, and then we got Not Like Us.
Definitely check out the Kendrick Lamar and Drake explainer for the entire history.
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Los Angeles Times
34 minutes ago
- Los Angeles Times
Tony Awards: Hollywood A-listers brought the spotlight to Broadway, but stage thespians carried the day
Broadway finally got its groove back. The 2024-25 season was the highest-grossing season on record and the second-highest in terms of attendance. Hollywood A-listers, such as George Clooney in 'Good Night, and Good Luck,' and Denzel Washington and Jake Gyllenhaal in 'Othello' got in on the action, raising Broadway's media profile along with its ticket prices. Two Emmy-winning alums of HBO's 'Succession,' Sarah Snook in 'The Picture of Dorian Gray' and Kieran Culkin in 'Glengarry Glen Ross,' have been treading the boards, as has Netflix's 'Stranger Things' standout Sadie Sink in 'John Proctor Is the Villain.' And though the experience seems to have been memory-holed, Robert Downey Jr. made a respectable Broadway debut in September in Ayad Akhtar's too-clever-by-half AI drama, 'McNeal.' On Sunday, the Tony Awards paid homage to the astonishing array of acting talent that drew audiences back to the theater. But it wasn't star power that determined the evening's prizes. It was boldness — unadulterated theatrical fearlessness — that carried the day. The ceremony, held at Radio City Music Hall amid the art deco splendor of old New York, was presided over by Tony-winner Cynthia Erivo, a natural wonder of the theatrical universe. One of the turbo-powered stars of the blockbuster screen adaptation of 'Wicked,' she was the ideal host for a Broadway year that owed its success to the unique ability of high-wattage stage performers to forge a singular connection with audiences. Viewers watching the ceremony on CBS were offered a glimpse of the cyclonic energy she can generate in a bubbly opening number celebrating the nominees. It didn't matter that most watching from home hadn't seen the shows name-checked in the specially composed novelty song. The vivacity of the art form broke through the screen courtesy of Erivo's capacity to blast through any barrier with her truthful virtuosity. Will Aronson and Hue Park's 'Maybe Happy Ending' was the evening's big winner, picking up six Tonys, including best musical. Branden Jacobs-Jenkins' 'Purpose,' which received the Pulitzer Prize for drama this year, was chosen as best play in a season showcasing a refreshingly wide range of ambitious playwriting. Anna D. Shapiro's sharply-tuned production of Jonathan Spector's 'Eureka Day,' a bitingly funny satire on the vaccine debate, won for play revival. And Jamie Lloyd's radical reworking of 'Sunset Blvd.' took the prize for musical revival. All in all, it was a strong season for directing. Michael Arden won for his exquisitely humane staging of the futuristic robot musical, 'Maybe Happy Ending.' And Sam Pinkleton was honored for his wild and whirling synchronization of Cole Escola's 'Oh, Mary!' As a critic, I don't usually have to pay for theater tickets, but I got a taste of the ludicrousness when charged $500 to see Washington and Gyllenhaal in a flaccid revival of 'Othello.' Apparently, I got off cheaply compared to a friend who paid even more for a worse seat on the same night. But the price-gouging didn't dent my appreciation for a season that reminded me of the privilege of being in the room where the theatrical magic happens. (Yes, even 'Othello' had its intermittent rewards.) Communing with audiences in the presence of gifted stage performers is one of the last bastions of community in our screen-ridden society. I was grateful that CNN made the agonizingly timely 'Good Night, and Good Luck' available to a wider public, presenting Saturday night's performance live. But watching Clooney and company on TV wasn't the same as being in the Winter Garden with them during the performance. It wasn't simply that the camerawork profoundly altered the visual storytelling. It was that at home on my couch I was no longer enclosed in the same shared space that brought history back to the present for a charged moment of collective reflection. The Tony Awards honored those actors who embraced the immediacy of the theatrical experience and offered us varieties of performance styles that would be hard to find even in the more obscure reaches of Netflix. Cole Escola, the first nonbinary performer to win in the lead actor in a play category, accepted the award for their fiendishly madcap performance in 'Oh, Mary!' — a no-holds-barred farcical display of irreverence that ignited a firestorm of hilarity that threatened to consume all of Broadway. Snook won for her lead performance in 'The Picture of Dorian Gray,' a multimedia collage of Wilde's novel that had the protean 'Succession' star playing opposite screen versions of herself in what was the season's most aerobically taxing performance. Francis Jue, who delivered the evening's most moving and politically pointed speech, won for his shape-shifting (and age-defying) featured performance in the revival of David Henry Hwang's 'Yellow Face.' And Kara Young, who won last year in the featured actress in a play category, repeated for her heightened artistry in 'Purpose,' the kind of extravagant performance no screen could do justice to. Nicole Scherzinger, who was honored as best lead actress in a musical for her portrayal of Norma Desmond in a bracing revival of Andrew Lloyd Webber's 'Sunset Boulevard,' demonstrated the power of theater to seize hold of us when she performed 'As If We Never Said Goodbye' on the telecast. In her Broadway debut, Scherzinger, who came to fame with the Pussycat Dolls, faced stiff competition from Audra McDonald, the six-time Tony winner starring in 'Gypsy.' No performance moved me more this season than McDonald's harrowing portrayal of Rose. In George C. Wolfe's revival, the character is a Black woman struggling not just with her frustrated dreams of stardom displaced onto her children but with the injustice of history itself. McDonald was given the impossible task of performing 'Rose's Turn' on the telecast, her character's Lear-like cri de cœur in song. She delivered, as she always does, but again I wish audiences at home could experience the broken majesty of this number in context at the Majestic Theatre, where theatergoers have been rising up in unison, wiping away tears, to express their gratitude for McDonald's sacrificial generosity. Darren Criss, an alum of 'Glee,' received his first Tony for endowing an outdated robot with a sophisticated taste for jazz with a deft physical life and diffident (yet unmistakable) humanity. His lead performance in 'Maybe Happy Ending' (perfectly in sync with that of his impressive co-star, Helen J Shen) is as responsible for the musical's unexpected success as Arden's staging and Dane Laffrey and George Reeve's Tony-winning scenic design. Natalie Venetia Belcon, the heart and soul of 'Buena Vista Social Club' along with the band, was honored for her featured performance in the musical that tells the story of Cuban musical style that defied history to seduce the world. And Jak Malone, who was responsible for the evening's second most riveting speech, won for his gender-blurring featured performance in'Operation Mincemeat: A New Musical.' These performances, by names you probably don't know all that well, embraced the special properties of an art form that is larger than life and all the more acutely exposed for being so. It takes enormous skill and dedication to find the delicacy in such theatrical grandeur. These artists know that flamboyance needn't preclude subtlety, and that stardom neither guarantees nor bars revelation. Actors from all ranks are clearly hungering for the kind of substance and freedom that the stage can uniquely provide. Off-Broadway has been filled with marquee talents connecting with audiences whose main interest is potent work. Patsy Ferran, starring opposite Paul Mescal in the Almeida Theatre production of 'A Streetcar Named Desire' at the Brooklyn Academy of Music's Harvey Theater, was, hands down, the best performance I saw all year. Andrew Scott in 'Vanya' at the Lucille Lortel Theatre, Adam Driver in Kenneth Lonergan's 'Hold on to Me Darling' also at the Lortel, Lily Rabe in Mark O'Rowe's adaptation of Ibsen's 'Ghosts' at Lincoln Center Theater's Mitzi E. Newhouse and Nina Hoss and Adeel Akhtar in the Donmar Warehouse production of 'The Cherry Orchard' at St. Ann's Warehouse left me feeling, as only theater can, more consciously alive and connected. The speeches at the Tony Awards, for the most part, skirted politics. This reticence was surprising given what we're living through. But there's something deeply political when we gather to look in the mirror that artists hold before nature. The politics are implicit, and this year Broadway reminded us that our humanity depends upon this ancient, timeless art.
Yahoo
an hour ago
- Yahoo
‘Étoile': Exclusive 4-part conversation with creators, star Luke Kirby, cinematographer, and choreographer
Amy Sherman-Palladino and Daniel Palladino wear many hats (literally) on the sets of their TV shows — creators, writers, directors, executive producers. So over the course of their career, from Gilmore Girls to Étoile, they've built a family of trusted professionals around them to help them realize their creative vision, in front of and behind the camera. In Gold Derby's exclusive four-part "Dream Team" conversation series, they open up about how they all work together. It all starts, of course, with their own partnership. Sherman-Palladino and Palladino, who've been married for years, say they've figured out how to divide and conquer the tremendous amount of responsibility that comes with showrunning. "It's pretty organic," says Sherman-Palladino. "Frankly, when you've been doing it this long, what you want is to be jealous of something that someone else has done. ... It keeps you on your toes." More from GoldDerby Tony Talk: Dissecting those shocking wins for 'Purpose,' Nicole Scherzinger, Darren Criss, and more Behind the scenes at the Tony Awards: From Darren Criss to Andrew Lloyd Weber, backstage at Broadway's biggest night 'Legend of Zelda' movie delayed, Snoop Dogg biopic cast, and more of today's top stories When it comes to casting, the Palladinos are known for relying on a troupe of actors and bringing them to each subsequent series. So after Luke Kirby's Emmy-winning turn in The Marvelous Mrs. Maisel, it comes as little surprise that they would put him center stage in Étoile. "When writing is as good as theirs is, it's a really good idea, I think, to get out of your own way," says Kirby. "Having a kind of faith in the words can really bring you into new worlds that you don't expect. Their writing is very, very nuanced. I think it's to be deeply felt." To create the look of Étoile, they turned once again to "genius" cinematographer M. David Mullen, the man responsible for making Mrs. Maisel, well, marvelous. "To have somebody be able to go along on that ride and then take what is in your head, understand what it is you're talking about, and then blow it up into this majestic piece that is so much better than you even thought it could be, that's very rare," says Sherman-Palladino, who calls Mullen her "film school." And finally, there's "secret weapon" Marguerite Derricks, the choreographer who's been helping their shows dance since the days of Bunheads. "I wouldn't want to do dance just for dance anymore," says Derricks. "Dance driving the story is just magic. It's really magic. I feel bad for any choreographer that does not get to work with Amy and Dan." These articles and videos are presented by Prime Video. Best of GoldDerby Marlon Wayans on laughing through tragedy in 'Good Grief' and why social media has made comedy 'toxic' Minha Kim 'confronted all new emotions that I had never anticipated' in Season 2 of 'Pachinko' Vincent D'Onofrio teases 'Daredevil: Born Again' Season 2 is 'even more complex and more dangerous' Click here to read the full article.
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Vogue
2 hours ago
- Vogue
What to Wear to Summer's Biggest Concerts
Summer is finally here! And while the season promises plenty of gloriously sunny days spent at the park or beach, it's the upcoming tours that have us especially excited. Many of the music world's biggest stars are going on the road over the next few months—and some A-list acts have already kicked off their shows. Beyoncé, for one, has been bringing her stellar Americana-meets-western style to the stage with the ongoing Cowboy Carter Tour. Other performers to look forward to this summer? Notable names like Lady Gaga, Kendrick Lamar and SZA, Olivia Rodrigo, Blackpink, and many more. (Start saving those coins for tickets!) Half the fun of attending a concert, though, is finding the perfect outfit to wear to a show. You simply can't attend Gaga's Mayhem Ball without an edgy, Mother Monster-worthy look. If the thematic fashions have you stressed, fear not: Vogue is rounding up the best summer tours, and what to wear to them. Consider it one less thing you have to stress about—so that you can focus entirely on scream-singing to your favorite songs the night of. Below, see this summer's biggest tours—and what to wear to them. Beyoncé's Cowboy Carter Tour The vibe: Elevated country-western style. Think: Lots of fringe, denim, and leather. For a modern take on the look, consider a fringed jacket with your summer cut-offs, and punctuate it with your go-to cowboy boots and brimmed hat. 8 Other Reasons faux suede dixie cowboy hat $109 REVOLVE Jenny Bird starlet hoops $88 REVOLVE Lady Gaga's Mayhem Ball The vibe: Edgy, Mother Monster-worthy fashions in moody shades of red and black. For some Gaga-inspired styling, consider wearing a black slip dress over leather pants or leggings. Look for accessories such as a chunky combat boot and pearl detailing. Abra-cada-bra! Billie Eilish's Hit Me Hard and Soft Tour The vibe: Baggy, menswear-inspired fits with sporty accents. Billie has that expert ability to pull off extremely oversized clothing—and you can too, with a snazzy button-up shirt and basketball shorts. Don't forget a tie and a pair of customary Air Jordans. Kendrick Lamar and SZA's Grand National Tour The vibe: Y2K grunge—but in a cool, modern way. We are still thinking about how Kendrick brought back bellbottoms at the Super Bowl, so why not channel the rapper on his tour with a dark-wash pair? A cozy flannel, tinted shades, and sporty low-tops will round out the look with ease. Blackpink's World Tour The vibe: Cutesy girl group style that is ready for an intense dance routine. A lace camisole, pleated school girl skirt, and edgy moto boots will have you looking like you belong on stage with Lisa, Rosé, Jennie, and Jisoo. Blackpink in your area! Olivia Rodrigo's Guts Tour The vibe: '90s grunge meets glamour. There is no garment more on-point for an Olivia Rodrigo show than a classic bodycon dress—her signature piece, of course. Paired with Dr. Martens, a choker, and cutesy heart bag? Siri, cue up 'Driver's License.'
