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Yahoo
4 days ago
- Business
- Yahoo
Are Music and Other Celebrity Films Killing the Documentary?
Glance at the list of top contenders for the nonfiction special this Emmy season and you'll find some big musical talent: Bruce Springsteen. Celine Dion. John Williams. The Beatles. Yet far from a thrilling foray into the modern canon, these Rock and Roll Hall of Fame excursions suggest a world in which nonfiction TV has become an exercise in brand management, say documentary leaders, marginalizing robust storytelling and journalism. More from The Hollywood Reporter Roy Wood Jr. Mocks White House, CNN and Patti LuPone in Peabody Awards Monologue How Reginald Hudlin and Shola Lynch Put Together the Greatest Call Sheet Ever Questlove Reveals the Standout Musical Performance He Omitted From 'Ladies & Gentlemen ... 50 Years of SNL Music' - And Why The Emmys documentary special once covered a wide range of social topics. Beginning some 25 years ago, it included the stories of Vietnam POWs and prison cover-ups, child beauty-pageant contestants and racial inequities. But in recent years this has morphed. In 2024, four of the five nominees were authorized celebrity biographies. The year before? The same. Don't count on much changing this season: Artist-friendly music docs flood the space. 'A lot of this is the shift to streaming where companies are looking for names that are reliable and global, and what's being said in the films doesn't really matter,' says Thom Powers, a veteran documentary programmer at Toronto, Doc NYC and other festivals. 'It becomes less about content or rigor and more about marketing.' That these shifts are happening at a time of crisis — from social injustice to climate disasters to the slashing of the federal safety net — makes the tragedy that much greater, say nonfiction experts. Documentaries are unavailable at the exact moment they're needed most. Three veteran filmmakers, who all asked not to be identified because they did not want to jeopardize even hypothetical partnerships, expressed their concern and pointed to the shift in the doc power base from onetime rulers PBS and HBO to Netflix, Disney and Apple, which they say prioritize polish and name recognition. Some of the diminishment, they say, can also be traced to when streamers began running commercials, as Netflix did in late 2022, giving them a weaker stomach for content that might alienate advertisers. What's more, these platforms sometimes pay their subjects, turning them into de facto directors. After so many decades when artists, actors and athletes were forced to cede control to the companies, record labels and teams they work for, the pendulum has swung the other way. Not that the companies don't have their say: A film's need for music rights and the increasingly tight oversight by the entities that control them can mean even basic humanizing details are left out. Many nonfiction films these days are about only what the subject wants us to see — less documentaries than documercials. The crisis came to the fore in the fall with the revelation that Ezra Edelman, the creative force behind the Emmy-winning 2016 docuseries O.J.: Made in America, had directed a similarly ambitious piece for Netflix about the beautiful genius and alleged malevolent manipulations (and worse) of Prince. But with both the lawyers and rights-management company Primary Wave that were in charge of the musician's estate worried about the effects on Prince's catalog sales, at least some among the estate overseers reportedly threatened to use a clause in the contract that would require the nine-hour film to be cut down to six. The move led to the completed piece being permanently shelved. A new, more burnished authorized movie not directed by Edelman will now rise in its place. One hardly needs a nine-hour plumbing of the dark soul of Paisley Park to understand what's being lost. Time and again, the artist-approved film glides past the meatiest material. Of the Springsteen-centric Road Diary, The Hollywood Reporter's review offered that 'an in-depth excavation or an exhaustive accounting, this is not.' Of Music by John Williams, The Guardian said, 'The man behind the maestro remains elusive.' Of I Am: Celine Dion, Variety noted that the movie was 'managed to within an inch of its life…there's a sense the filmmaker didn't want to include anything her subject wouldn't approve of.' The shift is surprisingly recent. Just six years ago, the winner of the Emmy for doc special was Leaving Neverland, HBO's unflinching look at alleged Michael Jackson abuses from two alleged victims — a far cry from last year's winner about the genius of Jim Henson that was authorized by his family and came out from Disney. The company was doubtless happy not to deal with Neverland-level legal headaches. (There does still seem to be journalism within certain narrow documentary genres, like true crime, which recently yielded Liz Garbus' robust Netflix docuseries Gone Girls.) Doc-world veterans point to the size of the streamers as a culprit. 'It's a difficult environment now in the United States for controversial content,' says Alex Gibney, the Oscar- and Emmy-winning documentary filmmaker (Going Clear won the nonfiction special Emmy in 2015). 'With consolidation comes a belief that you can talk to everybody, so you don't want to offend anybody.' Gibney's own journalistic film about Benjamin Netanyahu, The Bibi Files, couldn't find a major network or streamer at this year's Toronto International Film Festival, joining another acclaimed TIFF work, Steve Pink's anti-Trump doc The Last Republican, in the distribution desert. Instead, filmmakers say the documentaries that land big deals are well-meaning but ultimately unrigorous — fan worship in auteurist clothing. Serving fans is hardly a crime, of course, and many of the music films can charm or educate the faithful. But filmmakers say they worry that these soft-focus looks are crowding out serious work. And they ruefully register the irony that artists whose genius came from exploring messy contradictions often wind up with treatments largely free of them. The music industry personalities behind these movies maintain that their efforts serve creativity in their own way, and that while they may have a measured hand in how they handle sensitive or controversial material, they still aim to cast an illuminating light. 'The artists have to be willing to tell their story, and that means the good and the bad, the wins and the struggles,' says Tom Mackay, president of premium content at Sony Music Entertainment, which has been behind a host of recent music docs, including films on Cyndi Lauper, June Carter Cash, Luther Vandross and this year's Celine Dion picture. 'It can't be a two-hour victory lap.' Mackay acknowledges that a built-in audience is part of the appeal in a difficult media environment. Distributors can count on 'that global fan base to migrate to that platform to watch that film,' he says. While the presence of these movies is held up as an example of journalism marginalization, those involved with them say they're actually responding to a deterioration in reporting culture and partly even addressing it. 'Journalism — especially music journalism — has changed; there aren't as many music outlets and not nearly as many in-depth articles about musicians as there used to be,' says Deborah Klein, a manager at Primary Wave whose clients include Melissa Etheridge and Cypress Hill, both of whom have been the subjects of recent docs. 'This is a way to get to know them a little better.' Still, many of the projects are driven by business models. Conglomerates with music catalogs don't need to pay licensing fees, eliminating a main budgetary expense. They then get paid when they sell their movie to a platform and grab another bite at the revenue apple when the ensuing popularity leads to increased streams or album sales — a triumph less of cinema than synergy. It is difficult to avoid the monetizing truth that Disney+ is the company putting out the story of Star Wars composer John Williams or that NBC streaming arm Peacock is behind Ladies & Gentlemen…50 Years of SNL Music. A 'universe' logic abides: Just as Disney produces Marvel and Star Wars shows by the bucket, it's following the template in nonfiction, peddling three movies to which it owns the rights, Michael Lindsay-Hogg original 1970 Let It Be, Peter Jackson's four-hour 2021 restoration of the footage from that film The Beatles: Get Back, and, now, the Scorsese-produced Beatles '64. Any company worth its salt engages in cross-promotion. But producing and distributing films with a commoditized-package strategy for a band that spent much of its career fighting commoditized packaging can set off the irony meter. Welcome to the Lennonverse. Natalia Nastaskin, chief content officer of Primary Wave, says that while 'we do hope that there's impact on catalog,' she also believes 'there's an opportunity for revelatory storytelling' with these movies. She called them 'another form of artistic expression.' But documentary directors say the approach makes for a very different environment than the one they're used to. 'Getting called into a meeting on these projects, you can sometimes feel more like you're filling a marketing hole than offering an artistic vision,' says one. Sheila Nevins, the former HBO executive and so-called 'godmother' of the modern documentary who has been nominated for the Emmy nonfiction special some 30 times, says she has been disheartened by the business and creative tilt in the past several years. 'The documentary is in hiding,' she says flatly. Still, she believes that even if the biggest streamers don't take many risks, a groundswell of documentarians as well as audiences eager to understand the challenges facing the country will emerge to resurrect the form. 'Just because these companies don't want to go too deep into the water doesn't mean docs are coming to an end,' Nevins notes, suggesting the possibility of private investment to produce and distribute films. 'These filmmakers will come back with their fists on fire. And they're going to punch very hard.' This story first appeared in a May stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Chicago Tribune
23-05-2025
- Entertainment
- Chicago Tribune
Las Vegas luring millennials, Gen-Z visitors with pool parties, craft cocktails, influencer experiences
Their grandparents lined up for buffets, and their parents came for Celine Dion. But millennials and Gen-Z are coming to Las Vegas for something else entirely. Nearly half of the city's visitors last year were millennials or Gen-Z, according to the Las Vegas Convention and Visitors Authority's 2024 visitor profile report. Despite the perception that they are still 'only kids,' all but the youngest millennials are in their 30s and 40s, while most of Gen-Z is of legal voting age. And although their spending and gambling habits differ from previous generations, millennials and Gen-Z are a very valuable cohort for Las Vegas casinos. 'In an environment of increasing competition, it is vital that (casino) operators focus on delivering quality, distinctive experiences that not just meet but often exceed patron expectations,' said Sarah Grady, assistant director of the Lloyd D. Levenson Institute of Gaming, Hospitality and Tourism at the Stockton University (New Jersey) School of Business. That realization is prompting casinos across Las Vegas to carefully consider how they attract and retain consumers who may be less interested in jackpots and more driven by experiences. Evidence of that shift can be seen in nearly every Las Vegas casino. Massive nightclubs, energetic pool parties featuring world-renowned DJs, celebrity chef restaurants, bars and lounges with craft cocktails designed to be photographed, and slot machines that look more like video games than gambling devices have become commonplace. Jonathan Jossel, chief executive officer of the Plaza hotel-casino in downtown Las Vegas, said non-gaming amenities are 'really important' to operators in 2025. 'It's really events that differentiate us from other places,' Jossel said, listing some non-gaming offerings at the property, such as pickleball, rodeo and free fireworks. 'These events make a big difference in making us more relevant online, and that (attention) is from the younger demographic.' Cliff Atkinson, president of Virgin Hotels Las Vegas, said millennials and Gen-Z visitors are seeking 'well-rounded experiences,' that include a little bit of everything the city has to offer. 'While gaming remains a key attraction, these generations are also drawn to the city's diverse wellness and culinary offerings,' he said. 'For millennials and Gen Z, we've seen that their perfect vacation blends the excitement of gaming with relaxing poolside moments, top-notch entertainment and delectable cuisine.' While that might not sound all that different from what previous generations sought in their Vegas vacations, the data suggests otherwise. According to the LVCVA report, millennials (born between 1981 and 1996) spent an average of $768 gambling, $637 on food and drinks, $63 on shows or entertainment and $47 on sightseeing. Gen-Z (born between 1997 and 2012) spent, on average, $575 in the casino, $541 eating and drinking, $94 at concerts or shows and $62 sightseeing. Comparatively, Gen-X (current ages between 45 and 60) spent, on average, more on gambling ($873) and less on shows/entertainment ($56) and sightseeing ($35) than either of the other two generations. Gen-X's spending on food and beverages ($617) was less than millennials but more than Gen-Z, according to the LVCVA report for last year's visitors. Gen-X also spent less per night for hotel stays ($167) than either millennials ($192) or Gen-Z ($171), likely due to receiving more comped rooms tied to higher gambling spend. Changing consumer behaviors also plays a part in how Las Vegas casinos are attempting to appeal to the two younger generations. For starters, overall attitudes toward gambling as a socially acceptable activity continue to favor casino operators. Bally's Chicago gets green light from Illinois Gaming Board to resume constructionAccording to recent research by the American Gaming Association, roughly 9 in 10 Americans believe casino gambling to be acceptable for themselves or others. Fifty-nine percent (the highest ever) found gambling personally acceptable. More than 55 percent of U.S. adults participated in some form of gambling (including lottery) in 2023. As of August, 49 percent (122 million people) visited a casino for gambling or other entertainment purposes within the past 12 months, the highest level of casino visitation on record. 'There has also been an increase in the number of individuals that believe that the value of casino entertainment is 'excellent/good compared to alternatives' and that casinos are innovative,' Grady said, citing the AGA's research. 'These findings, added to the fact that the average age of casino visitors has dropped from 47.5 in 2014 to 41.9 in 2024, could suggest that younger generations have a generally positive impression of gaming and an interest in participating.' Millennial and Gen-Z gamblers are also drawn to digital options. Online casino gaming, or iGaming, is available in six states and online poker is offered in Nevada. Online sports betting, which is now legal in 34 states and the District of Columbia, is the fastest-growing segment of regulated gaming in the United States. Grady said some casino operators are parlaying that interest into tangible returns. 'While perhaps not a major revenue earner for the industry, sports betting taps into younger generations' familiarity with sporting contests and engages them in a casino experience that does not rely on knowledge of more traditional casino products,' she said. 'Once they've had the chance to experience the casino environment through sports betting or other gaming products, they have an opportunity to explore everything else casinos have to offer.' Not every casino is chasing millennials and Gen-Z the same way. Some, such as Jossel, believe patience and waiting for consumers to age into traditional habits might be just as effective as constant reinvention. 'Everyone gets older, and their tastes evolve. Just because you're doing something in your 20s, 30s or 40s doesn't mean you're going to be doing that in your 50s, 60s and 70s,' he said, leaning on prior discussions with patrons who played bingo today but did not when they were younger and visited casinos in Las Vegas. 'So, this idea of everyone saying we need to adjust our marketing plan to target the young people never really resonated with me.' Jossel admits the newer slot machines, which more closely resemble a computer game than a Vegas-style one-armed bandit, have forced him to look at the situation differently. He said younger gamblers are spending more time, and more money, on these sleek-looking machines with fancy graphics and interactive components. 'Games have bets that range from 40 cents up to $40 or $50, and I see these young people playing $20 a spin, no problem. In the old days, you just never saw that. You just never, ever saw people betting those big numbers,' he said. 'And I got to believe that's the new product, the new games, but also the impact of the influencers on social media.' Even if behaviors are shifting, traditional casino games are still relevant to younger audiences, said Atkinson. 'The rise of gaming influencers on YouTube, Instagram and TikTok has sparked a renewed interest in traditional games among younger generations. These influencers are engaging their audiences on social media, enticing them to visit casinos for an authentic gaming experience,' he said. 'While online gaming and sports betting remain popular, there's still a strong desire for the tangible gaming experiences that Las Vegas offers.' In other words, while their grandparents were piling buffet food on their plates, and their parents sang along to Celine's classics, this new generation is coming to Las Vegas for craft cocktails, video-game-inspired slots and influencer-driven experiences. All of which Vegas has plenty to offer.
Miami Herald
21-05-2025
- Entertainment
- Miami Herald
How Las Vegas casinos are working to attract millennials, Generation Z
Their grandparents lined up for buffets, and their parents came for Celine Dion. But millennials and Gen-Z are coming to Las Vegas for something else entirely. Nearly half of the city's visitors last year were either millennials or Gen-Z, according to the Las Vegas Convention and Visitors Authority's 2024 visitor profile report. Despite the perception that they are still "only kids," all but the youngest millennials are in their 30s and 40s, while most of Gen-Z is of legal voting age. And although their spending and gambling habits differ from previous generations, millennials and Gen-Z are a very valuable cohort for Las Vegas casinos. "In an environment of increasing competition, it is vital that (casino) operators focus on delivering quality, distinctive experiences that not just meet but often exceed patron expectations," said Sarah Grady, assistant director of the Lloyd D. Levenson Institute of Gaming, Hospitality and Tourism at the Stockton University (New Jersey) School of Business. That realization is prompting casinos across Las Vegas to carefully consider how they attract and retain consumers who may be less interested in jackpots and more driven by experiences. Evidence of that shift can be seen in nearly every Las Vegas casino. Massive nightclubs, energetic pool parties featuring world-renowned DJs, celebrity chef restaurants, bars and lounges with crafted cocktails designed to be photographed, and slot machines that look more like video games than gambling devices have become commonplace. 'Well-rounded experiences' sought Jonathan Jossel, chief executive officer of the Plaza hotel-casino in downtown Las Vegas, said non-gaming amenities are "really important" to operators in 2025. "It's really events that differentiate us from other places," Jossel said, listing some non-gaming offerings at the property, such as pickleball, rodeo and free fireworks. "These events make a big difference in making us more relevant online, and that (attention) is from the younger demographic." Cliff Atkinson, president of Virgin Hotels Las Vegas, said millennials and Gen-Z visitors are seeking "well-rounded experiences," that include a little bit of everything the city has to offer. "While gaming remains a key attraction, these generations are also drawn to the city's diverse wellness and culinary offerings," he said. "For millennials and Gen Z, we've seen that their perfect vacation blends the excitement of gaming with relaxing poolside moments, top-notch entertainment and delectable cuisine." Spending less on gambling While that might not sound all that different from what previous generations sought in their Vegas vacations, the data suggests otherwise. According to the LVCVA report, millennials (born between 1981 and 1996) spent an average of $768 gambling, $637 on food and drinks, $63 on shows or entertainment and $47 sightseeing. Gen-Z (born between 1997 and 2012) spent, on average, $575 in the casino, $541 eating and drinking, $94 at concerts or shows and $62 sightseeing. Comparatively, Gen-X (current ages between 45 and 60) spent, on average, more on gambling ($873) and less on shows/entertainment ($56) and sightseeing ($35) than either of the other two generations. Gen-X's spending on food and beverages ($617) was less than millennials but more than Gen-Z, according to the LVCVA report for last year's visitors. Gen-X also spent less per night for hotel stays ($167) than either millennials ($192) or Gen-Z ($171), likely due to receiving more comped rooms tied to higher gambling spend. Changing consumer behaviors also plays a part in how Las Vegas casinos are attempting to appeal to the two younger generations. For starters, overall attitudes towards gambling as a socially acceptable activity continue to favor casino operators. According to recent research by the American Gaming Association, roughly 9 in 10 Americans believe casino gambling to be acceptable for themselves or others. Fifty-nine percent (the highest ever) found gambling personally acceptable. More than 55 percent of U.S. adults participated in some form of gambling (including lottery) in 2023. As of August, 49 percent (122 million people) visited a casino for gambling or other entertainment purposes within the past 12 months, the highest level of casino visitation on record. "There has also been an increase in the number of individuals that believe that the value of casino entertainment is 'excellent/good compared to alternatives' and that casinos are innovative," Grady said, citing the AGA's research. "These findings, added to the fact that the average age of casino visitors has dropped from 47.5 in 2014 to 41.9 in 2024, could suggest that younger generations have a generally positive impression of gaming and an interest in participating." Reaching younger gamblers Millennial and Gen-Z gamblers are also drawn to digital options. Online casino gaming, or iGaming, is available in six states and online poker is offered in Nevada. Online sports betting, which is now legal in 34 states and the District of Columbia, is the fastest-growing segment of regulated gaming in the United States. Grady said some casino operators are parlaying that interest into tangible returns. "While perhaps not a major revenue earner for the industry, sports betting taps into younger generations' familiarity with sporting contests and engages them in a casino experience that does not rely on knowledge of more traditional casino products," she said. "Once they've had the chance to experience the casino environment through sports betting or other gaming products, they have an opportunity to explore everything else casinos have to offer." Not every casino is chasing millennials and Gen-Z the same way. Some, such as Jossel, believe patience and waiting for consumers to age into traditional habits might be just as effective as constant reinvention. "Everyone gets older, and their tastes evolve. Just because you're doing something in your 20s, 30s or 40s doesn't mean you're going to be doing that in your 50s, 60s and 70s," he said, leaning on prior discussions with patrons who played bingo today but did not when they were younger and visited casinos in Las Vegas. "So, this idea of everyone saying we need to adjust our marketing plan to target the young people never really resonated with me." Jossel admits the newer slot machines, which more closely resemble a computer game than a Vegas-style one-armed bandit, have forced him to look at the situation differently. He said younger gamblers are spending more time, and more money, on these sleek-looking machines with fancy graphics and interactive components. "Games have bets that range from 40 cents up to $40 or $50, and I see these young people playing $20 a spin, no problem. In the old days, you just never saw that. You just never, ever saw people betting those big numbers," he said. "And I got to believe that's the new product, the new games, but also the impact of the influencers on social media." Even if behaviors are shifting, traditional casino games are still relevant to younger audiences, said Atkinson. "The rise of gaming influencers on YouTube, Instagram and TikTok has sparked a renewed interest in traditional games among younger generations. These influencers are engaging their audiences on social media, enticing them to visit casinos for an authentic gaming experience," he said. "While online gaming and sports betting remain popular, there's still a strong desire for the tangible gaming experiences that Las Vegas offers." In other words, while their grandparents were piling buffet food on their plates, and their parents sang along to Celine's classics, this new generation is coming to Las Vegas for craft cocktails, video-game-inspired slots and influencer-driven experiences. All of which Vegas has plenty to offer. ___ Copyright (C) 2025, Tribune Content Agency, LLC. Portions copyrighted by the respective providers.
Wales Online
20-05-2025
- Entertainment
- Wales Online
Celine Dion breaks silence after Eurovision no-show
Celine Dion breaks silence after Eurovision no-show Canadian singer Celine Dion has shared posts on social media following her no-show at the Eurovision Song Contest grand final in Basel which was held last weekend, May 17 Former Eurovision Song Contest winner Celine Dion, spoke in a pre-recorded video message during the first semi-final of the 69th Eurovision Song Contest, in Basel (Image: AP ) It was a disappointment to many fans watching the Eurovision Song Contest Grand Final last weekend that the queen of power ballads, Celine Dion did not make an appearance. The French-Canadian singer has now broken her social silence for the first time since the speculation was rife that she would appear at the Basel event. It was believed that the My Heart Will Go On singer would be making an appearance at the singing contest after it was reported that her private jet had been spotted in the Swiss city. She's been away from the spotlight for several years as she grapples with the debilitating condition known as "stiff person syndrome", but she returned to the stage last summer to perform at the Paris Olympics. Of course, she also represented Switzerland back in 1988. Now, Celine has broken he silence post Eurovision with an Instagram that has left fans confused. For the latest TV and showbiz gossip sign up to our newsletter . Her Instagram post featured an image of her lying on a hand rail in a theatre. Alongside it, she said: "Is planking still a thing? Asking for a friend…" Article continues below One fan said what we were all thinking, "That's so random but I LOVE!", whilst also adding how much they missed the singer. Content cannot be displayed without consent Fans have shared their love for the singer, hoping she will soon return to the stage. One fans commented: "Soft launching that comeback, queen?!" Another added: "The stage is waiting for you !! we miss you so much!" This post comes following rumours of her appearing at the Eurovision Song Contest in Basel last weekend. Despite making a video appearance at the semi final of the competition on Tuesday, May 13, fans were expecting the singer to pop up in the contest's grand final which was held on Saturday, May 17. The BBC reported that her private jet had been spotted in Basel before the show and that whipped up fans into a frenzy. Although, the news outlet were unable to confirm whether the songstress was on the private jet or not. In 1988, 20-year-old Celine Dion, who was little known outside her native French-speaking Quebec province in Canada, performed and won with her song 'Ne Partez Pas Sans Moi' as she represented Switzerland in the competition. This marked the last time that the country had won the competition until Nemo took the crown for Switzerland in 2024. Celine herself even posted a throwback post on May 2, which showcased images from her 1988 performance as well as some from Eurovision 1989 when the country last hosted as a result of the singer's win the previous year. Where the Eurovision account joked: "It's all coming back to me now." Content cannot be displayed without consent In her video appearance during the first semi final of the competition viewers were moved as she made a rare public statement amidst her recent health battle. As the video began to play, the star was met with a loud cheer from the audience as she started off by saying: "I'd love nothing more than to be with you." She went on: "Switzerland will always hold a special place in my heart. It's the country that believed in me and gave me the chance to be part of something so extraordinary." Article continues below The star continues to say that winning Eurovision was "a lifechanging moment" and that seeing the contest return to Switzerland is "beautiful and emotional". You can read more here. The competition had previously been teasing fans that the Canadian singer would be making a return to the stage to celebrate the occasion following speculation. At a press conference ahead of the Grand Final, Eurovision's director Martin Green said: "Father Christmas exists, and you'll have to wait and see".
Cosmopolitan
19-05-2025
- Entertainment
- Cosmopolitan
Celine Dion Shares Super Short Spiky Pixie Haircut Photos
Celine Dion has always been a trendsetter, but her latest hair transformation (albeit a throwback) might just be her most iconic yet. You could say that it hits all the right notes... soz. In a recent Instagram post, the 57-year-old singer unveiled a bold blonde spiky undercut pixie from the early 2000s that had us doing a double-take. Gone are the long, flowing locks that we're used to; instead, we're served a punky short back and sides style that screams confidence. To really gauge how shocking this look is, here's Celine with her signature blonde 'do. And ta da! The surprising pixie cut in question: "Short hair, big vibes!" she captioned the throwback pics. Naturally, some fans are sharing their admiration for the hairstyle in the comments of Celine's post, however, others are drawing similarities from this look to an unlikely celeb. Yep, you read that right, folks... fans think that with her spiky blonde pixie cut, Celine Dion looks like Troye Sivan. Do you see the resemblance? Personally, I do not, but you best believe I'm all for the Troye Dion crossover. Iconic, really.
