Latest news with #BringMeToLife
Perth Now
6 days ago
- Entertainment
- Perth Now
Evanescence and K.Flay announce Ballerina end-title song Fight Like A Girl
Evanescence have teamed up with on the track 'Fight Like A Girl', the first end-title song in the John Wick film 'Ballerina'. After frontwoman Amy Lee and Halsey dropped the original song 'Hand That Feeds' from the hotly awaited flick, the 'Bring Me To Life' group have joined forces with alternative star on a song they co-wrote with Dylan Eiland and Ballerina film composer Tyler Bates. A description of the song reads: "Fuelled by fierce energy and defiance, Fight Like A Girl channels the film's themes of vengeance, resilience, and female empowerment, mirroring its adrenaline-pumping intensity and emotional depth." Both 'Fight Like A Girl' and 'Ballerina' are released on June 6. Amy Lee said: 'Tyler calling me up to create this song for Ballerina couldn't have come at a more perfect time, I know I'm not the only girl out there ready to dig my heels in and show the world what we're made of. 'I really wanted this song to be a collab, and is one of my favourite artists. It is literally a dream come true to do this together!' Grammy-nominated casually penned her verse backstage after a concert while her "adrenaline was still super high". She added: 'Amy sent me the demo and I was immediately so energised, so inspired. I was on tour at the time, and I wrote my verse backstage after a show, when my adrenaline was still super high. For me, the film and the song are both about how we channel our pain and how we choose to define ourselves. What separates the hero from the villain?' Taking place during the events of 'John Wick: Chapter 3 – Parabellum', 'Ballerina' follows Eve Macarro (Ana de Armas) who is beginning her training in the assassin traditions of the Ruska Roma.
Sydney Morning Herald
06-05-2025
- Entertainment
- Sydney Morning Herald
I watch TV for a living. This episode is the craziest thing I've seen.
This story contains spoilers for episode three of season two of The Rehearsal. I have a high threshold for the absurd. As a kid (yes, I was too young for it, blame my dad) I grew up with Rik Mayall and Adrian Edmondson, who took deranged pleasure in beating each other senseless on the BBC. My teenage years were spent singing about soup and eels with The Mighty Boosh. One of the best things I watched in my 20s was Paul Scheer and Jason Mantzoukas guessing the contents of a dumpster on The Chris Gethard Show. And one week after giving birth, I nearly did damage to myself uncontrollably laughing at Tim Robinson not knowing how to work his body in a virtual-reality supermarket on I Think You Should Leave. As deputy TV editor of this masthead and someone who's professionally written about pop culture for more than a decade, I watch a lot of comedy. But none of this prepared me for the latest episode of HBO docu-comedy The Rehearsal, in which Nathan Fielder – a 41-year-old man – shaved all the hair off his body, put on a nappy and a harness to propel himself into an oversized cot and re-created the life of Captain Chesley 'Sully' Sullenberger, the beloved pilot who landed a passenger plane on the Hudson. Whether you've seen the series or not, it's difficult to describe the context for this – a scene so ornately staged and deadpan in its delivery that I literally screamed while watching. Stranger still: it wasn't even my favourite moment of the episode. That was Fielder's reveal of a (not unconvincing) theory that a 23-second silence in the famous plane's black box recording is explained by Sully listening to the chorus of Evanescence's 2003 goth-pop hit Bring Me To Life. Speaking to Vulture, Evanescence singer Amy Lee called the moment 'so beautiful', adding that the show is a moving portrait of human vulnerability and a worthwhile interrogation of airline safety (this season is focused on Fielder's attempts to prevent real crashes). 'It's just blowing my mind,' she said. 'He's some kind of genius.' Separate to all that, this 34-minute episode also includes Fielder spending four months training one of a couple's three cloned dogs to behave like their deceased pet with the help of half a dozen paid actors and a man transporting air from the city where they once lived. As our critic put it in his four-and-a-half-star review of this season, 'No one else is making television like this [and] that actually might be for the best.'
The Age
06-05-2025
- Entertainment
- The Age
I watch TV for a living. This episode is the craziest thing I've seen.
This story contains spoilers for episode three of season two of The Rehearsal. I have a high threshold for the absurd. As a kid (yes, I was too young for it, blame my dad) I grew up with Rik Mayall and Adrian Edmondson, who took deranged pleasure in beating each other senseless on the BBC. My teenage years were spent singing about soup and eels with The Mighty Boosh. One of the best things I watched in my 20s was Paul Scheer and Jason Mantzoukas guessing the contents of a dumpster on The Chris Gethard Show. And one week after giving birth, I nearly did damage to myself uncontrollably laughing at Tim Robinson not knowing how to work his body in a virtual-reality supermarket on I Think You Should Leave. As deputy TV editor of this masthead and someone who's professionally written about pop culture for more than a decade, I watch a lot of comedy. But none of this prepared me for the latest episode of HBO docu-comedy The Rehearsal, in which Nathan Fielder – a 41-year-old man – shaved all the hair off his body, put on a nappy and a harness to propel himself into an oversized cot and re-created the life of Captain Chesley 'Sully' Sullenberger, the beloved pilot who landed a passenger plane on the Hudson. Whether you've seen the series or not, it's difficult to describe the context for this – a scene so ornately staged and deadpan in its delivery that I literally screamed while watching. Stranger still: it wasn't even my favourite moment of the episode. That was Fielder's reveal of a (not unconvincing) theory that a 23-second silence in the famous plane's black box recording is explained by Sully listening to the chorus of Evanescence's 2003 goth-pop hit Bring Me To Life. Speaking to Vulture, Evanescence singer Amy Lee called the moment 'so beautiful', adding that the show is a moving portrait of human vulnerability and a worthwhile interrogation of airline safety (this season is focused on Fielder's attempts to prevent real crashes). 'It's just blowing my mind,' she said. 'He's some kind of genius.' Separate to all that, this 34-minute episode also includes Fielder spending four months training one of a couple's three cloned dogs to behave like their deceased pet with the help of half a dozen paid actors and a man transporting air from the city where they once lived. As our critic put it in his four-and-a-half-star review of this season, 'No one else is making television like this [and] that actually might be for the best.'
