Latest news with #musicfilm
Yahoo
4 days ago
- Entertainment
- Yahoo
5 Things We Love About The Latest Music Drop Of The Country's P-POP Royalties
Sis, haven't you heard? The hottest track combining P-Pop royalties, Sarah Geronimo and SB-19 is out! More than just a collaboration single, 'Umaaligid' is a music film that centers around a thrilling whodunit story when a messy house party turns sour and ends with a murder investigation. Produced by Sarah and features the SB-19 boys dipping their toes into acting, wink wink, the collaboration between these two iconic forces of Pinoy Pop has everyone non-stop talking about it on any platform you can get your hands on. As you are reading this, it has just recently debuted as #1 and #3 on iTunes PH! 1. The most iconic collision of two P-pop Royalty generations With Sarah Geronimo being a household name for the millennials and SB-19 being household for the Gen Z's in the P-Pop space, it is no wonder that this music film is one of the coolest comebacks of all time, with some people calling it 'the best collaboration in PH history!' Twitter: @iamcalvinken Related: Twitter: @louiereyasher Her fans, fondly known as Popsters praise Sarah for being a pioneer for producing her own work, whilst still making room for other artists, like SB-19, to shine and create art with purpose. 2. SB-19 boys' swoon-worthy acting. Who wouldn't swoon with seeing our favorite P-Pop boys going out of their comfort zone and trying out acting for size? They popped off with this film, with each character being different archetypes and having a different motivations to 'murder' Victor. A few people pointed out how the characters they were assigned reflected them as people. Twitter: @woxihuanyien Twitter: @INIHOUSEniJOSH Twitter: @keunified Everyone is picking their favorite performances and naming stand-out favorites in the band. The most popular ones are about Josh, Justin, and Ken's acting. Who would your favorite be? Who made you the most kilig watching? Related: Twitter: @Summersiren_P14 Maybe the boys will have more acting stints after this too. Who knows? No one can deny that they are not triple threats now. 3. All the buzzing theories on who the real culprit is! The most fun thing to come out of this music film is the storytelling. Both A'Tin and Popsters are all coming alive online to debate and test their theories on who the real culprit was. From the mysterious figure who seemed to hide a darker side, to the character with the strongest motive — the whodunit storyline has everyone guessing, and even more so, talking. Twitter: @mummaa_mary Twitter: @slicindicinzone Related: 4. Absolute Cinema. Goosebumps! The music film's cinematography, writing, direction, production design, costume and makeup was absolutely giving cinema vibes. It was immersive and fun and made people feel like they were watching a 10-minute part of an actual movie. Twitter: @vesternipau Twitter: @atinkuyadrei Twitter: @multi_tin The music film bookends the beginning and end with the same shot– a dead body on the floor and the six suspects surrounding it. Talk about chills! 5. Big brain energy behind the lyrics At first glance, the narrative unfolds as a gripping mystery, with SB19 and Sarah Geronimo cast as suspects in a stylized music film. But beneath the surface, the lyrics weave a more intimate tale — one that speaks of unseen tensions, hidden truths, and the quiet presence of those who don't always reveal their true intentions. It's a reflection on perception, trust, and the shadows that linger just beyond the spotlight. Lyric Excerpts 'IDILAT ANG MATA, WAG KANG BABASTA-BASTA' Fake news, they shake views and make fools And snakes choose to taint clues to make truth Hanggang mabulag at katwiran, magkalamat Pipilayan ka ng gustong magpalakad Related: A'tin online are praising SB-19 for the intelligence of the lyrics and the play on words. One of the songwriters, Thyro Alfaro went onto X to share more about the double entendre's and messages in the song. Twitter: @jungchanwoo1326 Twitter: @jungchanwoo1326 It is clear that more than just giving their fans a song to listen to and a cool video– this is not about clout chasing at all– but a genuine pursuit of making intentional art that causes discourse and conversation. Have we convinced you enough to give it a listen? What are you still doing here? Go stream! We'll help you out: Written by: Philomena Yap Also in BuzzFeed: Also in BuzzFeed: Also in BuzzFeed:
The Guardian
27-05-2025
- Business
- The Guardian
From legal issues to reshoots: is the Michael Jackson biopic cursed?
As adult audiences for non-spectacle theatrical releases have waned post-Covid, one subgenre has survived long enough to feel like a franchise unto itself: the pop musician biopic. Not every new entry is a Bohemian Rhapsody-level smash; some, like the dreary Amy Winehouse biography Back to Black or the misbegotten Whitney Houston movie I Wanna Dance with Somebody, outright flop. But there are still enough success stories like A Complete Unknown ($140m worldwide, eight Oscar nominations) to assure every pantheon pop artist in America will probably receive this treatment eventually. 'Eventually' has become the operative word for Michael, a biopic of globally revered but controversial pop star Michael Jackson. The film from Antoine Fuqua was supposed to have been released by now; it was originally set to come out in April 2025. After an initial delay to October of this year, it's now looking likely to shift to sometime in 2026, not least because it has scheduled 22 days of additional shooting in June. Two months after its intended release, it's going back in front of cameras for nearly enough time to shoot an entirely separate film. That may be the eventual result, though it's not the intention of the additional filming this year. The plan now seems to involve reconfiguring Michael into a two-part movie; the new material will be used to expand the first half of the story, which – for 'part one', anyway – will leave off around 1980. That's before Thriller, before Bad, and well before the 1993 allegations of child abuse, which gave way to a 1994 settlement and a separate trial over child molestation charges in 2005. The movie apparently included scenes with a Jackson accuser whose settlement with his estate included the provision that he not be included in any dramatizations. As is often the case with modern musical biopics, the estate is signing off on the film, and their lack of proper oversight has turned a dramatic decision into a legal problem. Turning one movie into two buys the film-makers more time to figure out how to fix the later stretch of the film so that it's no longer in breach. And, hey, maybe it'll also double the box office – eventually. Another sign of musical biopics leaning into their status as event movies is their apparent willingness to embrace modern-day franchise tropes. Hence an upcoming quartet of Beatles biopics, one for each member of the band, and film-makers turning the Jackson estate's carelessness into an opportunity to treat his story like a YA fantasy. The dissonance, of course, comes from the fact that this particular case of eventizing is meant to better address multiple accusations of child abuse against the King of Pop. That these accusations are included at all is surprising and, at first, sounds downright bold for a subgenre that favors legally agreed-upon narratives of questionable veracity. (Even a film as initially electric as Straight Outta Compton eventually settles down into feeling like a mutually beneficial talking points hashed out by lawyers and producers, rather than a story with genuine meaning.) But that's just it: there's no chance the ultra-protective (and lucrative) Jackson estate has signed off on a biopic that is anything short of deeply sympathetic to Jackson's side of this upsetting story. The actor playing Jackson, for example, could hardly be more estate-approved: it's Jaafar Jackson, the musician's nephew. Does that sound like a casting choice aiming for an unflinching portrait, or one that indulges the spectacle of allowing Michael Jackson to live again? A Jackson semi-hagiography that still manages to include child-molestation material – whether treated carefully or with legally actionable cruelty to Jackson's accusers – seems like a worst-of-both-worlds proposition. It's notable that some of the biggest recent biopic flops, both financially and creatively, are those that must contend with some degree of tragic, relatively recent history: the early death of Amy Winehouse; the addiction issues that the Whitney Houston movie gracelessly sanitizes. Those films still felt like legally fussed-with estate agreements – like authorized merch, in other words – while also bumming audiences out with the unavoidable sadness at their center. On top of that, Jackson's story has that early-death factor alongside accusations far more troubling than the self-destruction of Houston or Winehouse. To unapologetically celebrate Jackson would mean skewing some details of his final decade-plus of life beyond recognition – or simply ignoring much of it. There are signs that Jackson is so beloved, so close to a kind of pop martyrdom, that this is a winning strategy. The success of MJ the Musical, a jukebox accounting of Jackson's creative process, suggests that there are plenty of people willing to overlook Jackson's personal demons in favor of a de facto greatest-hits concert. That Broadway show has raked in millions over the past three years, expanding to London and Australia, while conveniently orienting itself in 1992, the year before the first public allegations against Jackson. Maybe that's the strategy behind making Michael into a two-part epic. No matter what the second half may bring (and it sounds as if the film-makers may legitimately not know how or if that will pan out), a movie that ends shortly after the release of his solo debut Off the Wall can get away with peddling nostalgia, otherworldly talent, and triumph over adversity. Then a second movie can provide the illusion of due diligence while also selling itself as a sequel to a blockbuster crowd-pleaser. (It's also not too far removed from the old music-industry scam of counting double albums as two sales instead of one.) On paper, the details of Michael sound like a potential fiasco: an involved but careless estate, a money-sucking repair job, a first-time actor in the lead, and material that tests audiences' willingness to tolerate in their theme-parky tributes. Yet in reality, it could be a game-changer in further eroding the boundaries between the art of biography and the business of legacy-making. Jackson changed music history in his lifetime; now he's being given a chance to change movie-music history from beyond.
