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Questlove says upcoming ‘SNL' special is ‘love letter' to show's 50 years of musical performances

Questlove says upcoming ‘SNL' special is ‘love letter' to show's 50 years of musical performances

CNN26-01-2025

NBC's celebration of 'Saturday Night Live's' 50-year history will continues this week with a new 3-hour documentary titled 'Ladies & Gentlemen… 50 Years of SNL Music.'
Nearly 1,000 artists have performed on the Studio 8H stage since 'SNL' debuted on October 11, 1975, according to the show, with the first being funk and soul musician Billy Preston.
'I remember when we come on the air, we're following Watergate, the last helicopter out of Vietnam, the city is broke, the church is being questioned and so everything seemed to be, if not crumbling, at least open to question,' the show's creator Lorne Michael said in a trailer for the doc, speaking of the series' debut.
At that moment in time, Michaels added, 'we just came on and did a show that we would want to see and music was a big part of that.'
According to an official synopsis, 'Ladies & Gentleman' will look back at the hundreds of performers who've taken the stage at 'SNL' and will reveal 'untold stories behind the culture-defining, groundbreaking, and news-making musical performances, sketches, and cameos of the past 50 years.'
'Ladies & Gentlemen' was co-produced by Oz Rodriguez and Roots drummer and Oscar-winning filmmaker Questlove, who wrote in an Instagram post over the weekend that 'every second of this doc is a love letter of sorts.'
The doc will feature commentary from artists including Miley Cyrus, Mick Jagger, Dave Grohl, Billie Eilish and Paul Simon, among others, plus actors who've graced the 'SNL' stage like Maya Rudolph, Eddie Murphy, Bill Hader and more.
'SNL's' 50th anniversary will culminate with a special on February 16, airing on NBC.
'Ladies & Gentleman… 50 Years of SNL Music' will air on NBC on Monday at 8 p.m. EDT/PDT.

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‘We had our own Lauryn Hill': Raphael Saadiq goes off about Lucy Pearl bandmate Dawn Robinson at Oakland show
‘We had our own Lauryn Hill': Raphael Saadiq goes off about Lucy Pearl bandmate Dawn Robinson at Oakland show

San Francisco Chronicle​

time35 minutes ago

  • San Francisco Chronicle​

‘We had our own Lauryn Hill': Raphael Saadiq goes off about Lucy Pearl bandmate Dawn Robinson at Oakland show

Raphael Saadiq did not hold back during the final night of his 'No Bandwidth: One Man, One Night, Three Decades of Hits' tour, which concluded in his hometown of Oakland. The special one-man show, which kicked off on May 31 at the historic Apollo Theater in New York before subsequent stops in Washington, D.C. and Los Angeles, wrapped up with two consecutive performances at the Fox Theater over the weekend that were as revealing as the crowds were rowdy. The format was reminiscent of 2020's 'Beastie Boys Story' on Apple TV+, though even more sparse and not as technically tight (certain sound and video cues didn't quite sync up). Saadiq on a sparse stage featuring a couple of stools, two guitars, a bass, a turntable and a piano as he shared personal stories about the triumphs and tragedies of his life growing up as a scrawny boy in East Oakland to becoming the co-founder of the 1990s hitmakers Tony! Toni! Toné! and a Grammy-winning producer. Fans were instructed to seal their electronic devices in Yondr pouches when they arrived at the venue, allowing Saadiq to speak openly without fear of a video of him and his comments going viral. As a reward, he gave the crowd an unfiltered account of the fallout that ended Lucy Pearl, the supergroup he formed with Ali Shaheed Muhammad of A Tribe Called Quest and Dawn Robinson, of the Oakland-founded R&B troupe En Vogue. 'Since this is my last show, I'm going to tell y'all,' he said, with a laugh. 'This is why you don't have your phones.' He specifically addressed longstanding tensions with Robinson, whom he called 'our own Lauryn Hill,' referring to the Grammy-winning 'Ex-Factor' singer notorious for being late to her own concerts and the one blamed for canceled reunion tours with the popular '90s hip-hop trio known as the Fugees. 'Actually, I'd rather have Lauryn,' Saadiq said to audible gasps. And he didn't stop there. Reflecting on Lucy Pearl's abrupt dissolution in late 2001, just about two years the group formed, Saadiq recalled a tour stop in Amsterdam — their last — where he learned Robinson wanted to leave the band. 'I couldn't believe it. We did an album in six months, but toured for less than a month,' he said, referring to their self-titled debut that had dropped just a year before. At one point, Saadiq started singing the hook from the Lucy Pearl hit 'Dance Tonight,' which was sung by Robinson. 'See! I didn't need her. I could've sang it myself,' he quipped. To end the segment about what he called his 'Lucifer's Pearl' era, he dismissed recent reports of Robinson living in her car, saying bluntly, 'That sh— about her living in her car is not real.' This rare openness added gravity to a night that was as chaotic as it was thrillingly insightful. Fans showered Saadiq with a deafening outpouring of love, but their exuberance occasionally cut through his storytelling. A woman in the front repeatedly declared her undying love, and another went so far as to flash the musician. Saadiq's connection to Oakland — the city where his career began — only fueled the hooting and hollering throughout the venue. From namedropping his buddy and school 'bodyguard' Huston Lillard, father of NBA star Demian Lillard, to his alma maters Elmhurst Middle School and Castlemont High School as well as a slew of Oakland landmarks, he received rapturous cheers, many shouting out their connections to each he listed off. Saadiq appeared amused, every so often blowing kisses to fans, but also annoyed. He jokingly scolded and shushed the crowd, threatening to randomly name spots in Walnut Creek or Pinole because, he quipped, 'I know y'all don't leave to go out there.' Of course, the audience was most electrified when Saadiq sang his biggest hits with Tony! Toni! Toné! like 'Feels Good,' "Anniversary" as well as his solo tracks, 'Me and You' and 'Ask of You.' He later rattled off stories about working with the biggest names in the movie and music industry, from filmmakers John Singleton ('Boyz in the Hood') and Oakland's own Ryan Coogler ('Sinners') to Beyoncé and her sister Solange Knowles, the latter whom he called 'one of my favorites.' 'What makes me a great collaborator is that I'm a great listener,' he said, throwing shade at the show's main heckler. 'Not like you. I. Am. A. Listener.' He noted that while he never received awards for his solo work, he got his wins for his collaborations. Most recently, Saadiq won his third Grammy for his contributions to Beyoncé's "Cowboy Carter," which won album of the year at the 67th Grammy Awards. Nostalgia and controversy intertwined as Saadiq mentioned working with Kendrick Lamar ('Why would Drake mess with that dude? And I like Drake!') and while reminiscing about the influence the Isley Brothers had on his music, which led him to bring up that group's frequent collaborator, R. Kelly. 'Kell's a bad boy,' he acknowledged, referring to the disgraced R&B singer convicted of multiple sex crimes. 'They should have gotten him some help.' It was a truly raw, unapologetic look into the 59-year-old's life and career. Just before wrapping up at 11:30 p.m. with anecdotes about his late big brother D'Wayne Wiggins, who died of bladder cancer at 64 in March, he wanted to make sure he made good with the crowd. 'I didn't mind the noise,' he told the packed theater. 'It was all love.'

Where To Watch All The ‘John Wick' Movies: Streamers That Have All Four Films
Where To Watch All The ‘John Wick' Movies: Streamers That Have All Four Films

Yahoo

timean hour ago

  • Yahoo

Where To Watch All The ‘John Wick' Movies: Streamers That Have All Four Films

With Ballerina (2025) starring Ana de Armas and from the world of John Wick having arrived in theaters Friday, many may be wondering about the films that precede this latest installment and where to watch them. Before Ballerina, there were four John Wick films — the 2014 first film John Wick, 2017's John Wick: Chapter 2 (2017), 2019's John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4 (2023). Kean Reeves portrays the titular hitman, who goes through some crazy and traumatic events across the four films. More from Deadline Lionsgate's Staggered 'Ballerina' Embargo For 'Enthusiastic' & 'Critical Sentiment' Irks Reviewers 'Ballerina' Trailer: Ana De Armas Trains To Be An Assassin In 'John Wick' Spinoff 'Lilo & Stitch' Nears $800M Global, 'Mission: Impossible - Final Reckoning' Tops $450M & 'Ballerina' Bows To $51M WW - International Box Office Below find where each film is streaming and a brief summary of who stars in which: (2014) The first film in the franchise is available to stream on Peacock, Fubo TV, USA Network's streaming app and The film stars Michael Nyqvist as Viggo Tarasov, Alfie Allen as Iosef Tarasov, Willem Dafoe as Marcus, John Leguizamo as Aurelio, Ian McShane as Winston and the late Lance Reddic as the hotel manager among more. Peacock Fubo USA NBC (2017) The second fim is also available on the same four streaming sources — Peacock, Fubo TV, Usa Network's site and Riccardo Scamarcio plays Santino D'Antonio with Ruby Rose playing Ares. Returners include Ian McShane as Winston and Lance Reddick as Charon as well as John Leguizamo's Aurelio and Bridget Moynahan's Helen. Laurence Fishburne played Bowery King, and Common played Cassian. Peacock Fubo USA NBC (2019) The third chapter for the hitman and assassin is also available to stream on Peacock, Fubo TV, USA and NBC. Returners alongside Reeves include Ian McShane, Laurence Fishburne, Lance Reddick and Tobias Segal. Halle Berry played Sofia, Asia Kate Dillon played The Adjudicator, Angelica Huston played The Director and Jerome Flynn played Berrada. Peacock Fubo USA NBC (2023) Chapter 4 is available on all four streaming sites listed for the first three films in addition to Starz. Fishburne, McShane and Reddick returned, while George Georgiou played The Elder, Clancy Brown played Harbinger and Bill Skarsgåd played Marquis. Peacock Starz Fubo USA NBC Ballerina is only in theaters for now, but stay tuned for where to stream the fifth installment. RELATED: Best of Deadline 2025 TV Series Renewals: Photo Gallery Tony Awards: Every Best Musical Winner Since 1949 Tony Awards: Every Best Play Winner Since 1947

Tony Awards: Hollywood A-listers brought the spotlight to Broadway, but stage thespians carried the day
Tony Awards: Hollywood A-listers brought the spotlight to Broadway, but stage thespians carried the day

Los Angeles Times

time2 hours 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.

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