
Voice actor Colleen O'Shaughnessey on playing Tails and why AI can't replace emotion in art
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Filipino Times
2 days ago
- Filipino Times
Lindsay Lohan says moving to Dubai gave her the 'silence' she longed for
For Lindsay Lohan, leaving her life in the United States to settle in Dubai was a major decision and one she says she has never regretted. The New York-born actress moved to the United Arab Emirates in 2015, but it was only recently, during promotions for her upcoming film Freakier Friday, that she opened up about her reasons for relocating. 'I feel the silence I have in Dubai to take time just to really think about what it is I want to do, and how I want to do it,' Lohan told the United Arab Emirates-based publication The National in an interview. 'Silence is something I didn't grow up having. Dubai is a long moment of silence for me, in a way — and that's really refreshing,' she added. She said the city allows her to slow down despite its bustling environment. In a separate interview on Live with Kelly and Mark, Lohan described Dubai as 'being far away' from Hollywood, giving her the space to live a 'very normal life.' She said she feels safe in the city, noting its privacy laws that prohibit taking someone's photo in public without permission. Lohan is set to reprise her role as Anna Coleman in Freakier Friday, the sequel to the 2003 hit Freaky Friday. In the film, Anna is now a single mother preparing to marry Filipino-British chef Eric Reyes (Manny Jacinto). Chaos ensues when Anna, her daughter Harper (Julia Butters), her mother Tess (Jamie Lee Curtis), and Eric's daughter Lily (Sophia Hammons) mysteriously switch bodies with the two girls teaming up to stop the wedding.


The National
30-07-2025
- The National
What Justin Timberlake got wrong about touring in 2025
Justin Timberlake 's Forget Tomorrow World Tour ends today in Istanbul but, judging by the backlash, it couldn't have come to a close soon enough. What was billed as an anticipated comeback instead exposed how six years away from the road seems to have left the Cry Me a River singer out of touch with what's expected from a modern touring artist. The old assumptions – that sheer star power, a dependable setlist of hits and audiences primed to lap up whatever's presented on stage would suffice- are gone. For Timberlake, the fall was more than cancelled shows or the occasional bum note. It was about violating what has become an unspoken yet cardinal rule of live music: concerts are no longer solo performances but communal experiences, and it's the crowd that determines if a show succeeds. The Istanbul outing comes on the back of a growing catalogue of widely shared social media clips, from Dublin, Bucharest and London, showing disgruntled fans accusing Timberlake of delivering half-hearted performances. In one viral video that has received more than 460,000 likes, a Romanian fan lamented that she paid 'a lot of money' to see him, only to feel 'disrespected' by a show where he appeared to skulk around the stage in a low-brimmed hat, barely engaging with the crowd. While Timberlake isn't the first artist accused of phoning it in, the emotional, almost visceral response reveals a new faultline in the touring industry. In a concert economy where fans are spending hundreds, sometimes thousands of dollars for tickets, merchandise and premium meet-and-greet packages, the expectation is no longer just a solid setlist. It's that the artist will show up emotionally and meet the crowd in that shared space. Timberlake didn't just deliver a lacklustre show. He did something worse: he disengaged. A glance at today's most successful tours reveals artists who understand that concerts are no longer just musical events, but shared platforms. Taylor Swift's record-breaking Eras Tour, now officially the biggest and most commercially successful concert tour of all time with over $2 billion in revenue, is a case in point. More than a three-and-a-half-hour showcase of Swift's catalogue, each show was a colourful world-building exercise. Fans arrived in co-ordinated outfits, exchanged official friendship bracelets and chanted lyrics at predesignated cues. The ecstatic crowd left not as audience members, but as active participants. That same mastery of crowd choreography was on full display during Coldplay's four sold-out shows at Abu Dhabi's Zayed Sports City Stadium. As The National 's review noted of a detail as simple but powerful as the LED wristbands: 'The Xylobands, shifting from cherry red to soft tea green, created a cascading effect as the crowd waved their arms, making it seem as though singer Chris Martin was strolling through a dark, enchanted forest.' The change in expectations also requires, at times, a counterintuitive approach from artists. Where before the ultimate aim was to deliver the best vocal performance, now making the occasional slip-up is not meant to be hidden, but to be part of the show. Singer Olivia Rodrigo, whose songs are defined by their adolescent vulnerability, leans into that communal intimacy. Her vocal stumbles, also relentlessly documented by fans online during her well-received tour, become shared moments of recognition by fans who praise her in these videos for being real. 'You feel like she's your friend, not a pop star,' one fan posted recently under a social media video of Rodrigo's Glastonbury festival performance in June. And when Oasis reunited this July after 16 years, the press and the crowd didn't care about how polished they sounded or even so much the fact that Noel and Liam Gallagher were back on stage again, but about how their presence and songs made the stadium feel. This shift in audience expectation is partly driven by economics. The fact is, we are paying more than ever for concert tickets. In North America, ticket prices soared by more than 41 per cent since 2019, according to trade publication Pollstar. While there is no regional data, The National 's coverage of UAE concerts dating back to 2013 showed a general admission to see Black Sabbath at Etihad Park starting from Dh295, while tickets to see British singer David Gray at Dubai's Coca-Cola Arena in October and Rod Stewart at Abu Dhabi's Etihad Arena are both Dh395. And yet, people are still buying while jettisoning the now outdated idea of 'fear of missing out' for 'you had to be there'. It is about the event being larger than the music itself, a catalyst for community, making friends, expressing yourself with handmade memorabilia, and sharing a memory that is resonant because it felt real and made for the occasion. That is the emotional return on investment fans are seeking. And that is what Timberlake, by all visible accounts, failed to deliver. His tour featured none of the crowd participation cues that audiences have come to view as signs of care. There was also reportedly no off-the-cuff banter, rather the shows were viewed as lacking authentic moments and spontaneity. Perhaps this would have been OK if the music critic's pen still carried weight in shaping public perception, but that mantle has now moved to social media platforms. Fan reactions, often posted while the show is running, are now the ultimate definer of whether a performance is a hit or a dud. If Rodrigo's voice cracks mid-set, it's viewed as a loving reminder of her authenticity. If Timberlake delivers a smooth yet emotionally detached version of Suit & Tie, it becomes an unflattering meme. The new, unwritten contract understandably demands much from the artist – each show needs to feel like it was made for the moment while being cognisant that it could be recorded for posterity. It's a new form of the purity test, where an artist must now be many things on stage: performer, therapist, community builder and content generator. They must be professional yet not too polished, emotionally present but always ready to strike the right pose for crowds looking for social media content. It is no wonder Timberlake has reportedly been unhappy on the road. The game has changed, but he has yet to.


Broadcast Pro
29-07-2025
- Broadcast Pro
Manga Productions partners with SEGA to bring Sonic franchise to MENA
The game debuts with a record 23 characters, with more to be added through ongoing post-launch updates. Manga Productions, a subsidiary of the Mohammed bin Salman Foundation (Misk), has announced a strategic publishing and distribution agreement with Japanese gaming powerhouse SEGA to bring the Sonic franchise to audiences across the Middle East and North Africa (MENA). The collaboration will see Manga Productions publish SEGA's kart racing title Sonic Racing: Crossworlds in the region. In a statement, the company emphasised that the partnership aims to not only localise and promote the game for regional gamers but also to involve Saudi talent in the publishing and marketing process, supporting the growth of the Kingdom's creative industries. Dr. Essam Bukhary, CEO of Manga Productions, said: 'Manga Productions has built strategic partnerships that support the creative content industry in Saudi Arabia and the region. Our collaboration with SEGA brings Sonic Racing: Crossworlds to MENA audiences.' Developed by SEGA's arcade racing team, Sonic Racing: Crossworlds features a gameplay twist where tracks shift into mysterious, unpredictable worlds during the second lap of each race. The title will launch with a record-breaking roster of 23 characters, including iconic guest appearances from characters such as Hatsune Miku, Joker from Persona 5 Royal, Ichiban Kasuga from Like a Dragon, as well as crossover entries from Minecraft and SpongeBob SquarePants. More characters will be added in future updates. The game offers extensive customisation through over 70 'Gadgets' that allow players to tailor their racing strategies with skills and advantages. It also supports cross-play functionality, enabling up to 12 players to compete online in various multiplayer modes.