Category: Entertainment

  • Kris Bowers Set to Compose Netflix Animated Feature ‘Steps’ (EXCLUSIVE)

    Emmy-nominated composer Kris Bowers is set to score Netflix’s upcoming animated comedy “Steps.”

    The score was recorded in July and August at London’s Abbey Road Studios.

    Slated for release on Nov. 20, “Steps” marks the first film to be fully animated in-house within Netflix Animation Studios.

    Bowers said, “I was excited about the possibility of being on ‘Steps’ from the very first conversation I had with Alyce Tzue and John Ripa. This story is incredibly written, incredibly acted, and incredibly animated. I feel so many layered emotions when I watch this film, and I’m just hoping that my music can speak to those feelings.”

    “When I was a kid, the thing that made me fall in love with film music was when I could listen to the score and almost remember the entire film. And my aim always, especially with a film like ‘Steps,’ is that someone can listen to the score by itself and remember the entire journey they felt while watching.”

    Directed by Alyce Tzue and John Ripa, “Steps” puts a twist on the story of Cinderella’s evil stepsisters. The animated film follows Lilith (Ali Wong), who is blamed for hijacking the Royal Ball with a stolen magic wand. She accidentally turns her sister, Margot (Stephanie Hsu), into a frog and leaves the kingdom in the hands of a prince-obsessed mean girl. Now Lilith must team up with Cinderella (Amanda Seyfried) — and a surprisingly dreamy troll — to save the kingdom, repair the fractured fairytale and prove that even so-called “villains” deserve a shot at happily-ever-after. Bette Midler rounds out the starry ensemble, voicing the the fairy godmother.

    As previously announced, Daniel Radcliffe will voice the royal role in Netflix’s upcoming animated feature, “Steps.“ Also joining the cast are Young Mazino as Gef, “The Heartthrob,” and Peter Dinklage as Roderick, “The Muscle.”

    Tzue said, “Kris has been a dream collaborator for us on ‘Steps.’ He’s not only extremely talented, he’s always open to new ideas. It’s always ‘yes, and,’ and our wonderful score is the result of his generous collaboration and fierce, creative vision.” She added, “Kris has this unique talent of being able to get into the heads and hearts of our characters. When he plays piano, it’s like he draws a string from what he’s feeling through the instrument to his audience. Similarly, when he composes score, he draws a string of emotion from the characters behind the screen, through the screen, to the people watching. It’s raw and unfiltered, and it’s very special.”

    Tzue previously shared more details about the film saying, “This story is, at its core, about two very different sisters — one who fits perfectly into this fairy tale kingdom and one who doesn’t — realizing they’re more alike than different.” It’s a personal tale for Tzue who added, “Growing up as an awkward, artsy Taiwanese kid in suburban New Jersey, I often felt like an outsider, like ‘happily ever after’ wasn’t meant for me. I wanted to create a film for everyone who has ever felt like they didn’t belong — and show how a single act of kindness can change everything.”

    Ripa added, “When we first met Kris, he talked about his process — how when he sits down at the piano to explore the characters and themes, it’s the deep emotions of the characters that drive what comes out. It’s intuitive, honest, and raw. He thinks about music in ways that become essential to each character’s voice. We knew instantly that he was the right composer for ‘Steps.’”

  • Chris Rock, ‘Heated Rivalry’s’ Hudson Williams to Keynote Toronto Film Festival

    Chris Rock, ‘Heated Rivalry’s’ Hudson Williams to Keynote Toronto Film Festival

    Chris Rock, set to world premiere his latest film, Misty Green, in Toronto, will take part in an informal conversation at the September film festival, as will Heated Rivalry star Hudson Williams.

    Rock’s film for A24 follows an actress whose career has stalled years after her breakthrough role, as she fights for her second act. Rosalind Eleazar stars as Misty Green alongside Adam Driver, Daniel Kaluuya, Anna Kendrick, Topher Grace and Rock. Besides his breakout role in the gay hockey drama Heated Rivalry, Williams will also discuss in Toronto his upcoming star turn in the Crave and AMC+ supernatural mystery thriller Yaga, created by Kat Sandler.

    TIFF organizers also announced In Conversation With… sessions for Korean actor and singer Lee Min-ho, who will present his latest film, The Assassin(s), in Toronto, and director Rachel Morrison, as she brings her sophomore feature, Love of Your Life, a romantic drama starring Margaret Qualley, Aaron Pierre and Patrick Schwarzenegger, to the film festival for a world premiere.

    Andrew Scott is headed to Toronto with his latest movie, Simon Stone’s Elsinore, where he plays the late actor Ian Charleson in one of his final London West End stage roles as Hamlet, which he performed while living with AIDS.

    Scott has had other standout roles in Phoebe Waller-Bridge’s Fleabag, playing Moriarty in Sherlock, and credits for Wake Up Dead Man: A Knives Out Mystery and Richard Linklater’s Blue Moon.

    “This year’s In Conversation With… series brings together trailblazers and extraordinary storytellers for conversations that will offer audiences a deeper look at their craft and careers,” Anita Lee, chief programming officer at TIFF, said in a statement on Tuesday.

    The Toronto Film Festival will run from Sept. 10 to 20.

  • Martin McDonagh, Werner Herzog, Cody Fern Films Round Out 2026 Toronto Fest Lineup

    Martin McDonagh, Werner Herzog, Cody Fern Films Round Out 2026 Toronto Fest Lineup

    The Toronto Film Festival has unveiled a fresh round of titles to finalize its upcoming 51st edition, including Martin McDonagh’s Wild Horse Nine and Werner Herzog’s Bucking Fastard.

    Toronto is giving Cody Fern’s directorial debut, Closing Night, a world premiere, with Naomi Watts, Sarah Paulson and Dianne Wiest starring in the Special Presentations title. There’s also a first look for Peter Ho-Sun Chan’s The Road Not Taken in the Special Presentations program, and a world bow for Bahman Ghobadi’s Trees are Watching film in the Centrepiece section.

    Also in the Special Presentations program, Toronto booked an international premiere for Nanni Moretti’s It Will Happen Tonight after it opens in Venice; and there’s North American premieres for Stéphane Brizé’s 11th feature, Un bon petit soldat (A Good Little Soldier), led by Alba Rohrwacher and Vincent London; and It’s My Time, by Chinese director Bai Xue.

    Bucking Fastard with Rooney Mara, Kate Mara.

    Courtesy of Lena Herzog

    The Special Presentations program also has Canadian premieres for Martin McDonagh’s Wild Horse Nine, a dark comedy with John Malkovich and Sam Rockwell as CIA officers sent to Easter Island ahead of the 1973 coup in Chile; Werner Herzog’s Bucking Fastard, the latest feature from the Grizzly Man director set for a Venice world premiere starring sisters Kate Mara and Rooney Mara, along with Orlando Bloom and Domhnall Gleeson; and Neil Peart: No One’s Disciple, a documentary about the late Rush drummer and lyricist from directors Scot McFadyen and Sam Dunn.

    There’s also Canadian premieres for Małgorzata Szumowska offbeat newlywed adventure The Idiot(s), starring Aimee Lou Wood and Johnny Flynn; and Guy Nattiv’s Liberation, starring Carrie Coon, Lily James and Bella Ramsey.

    The latest film additions to the TIFF lineup are the last announced titles for a 51st edition to feature in all 293 titles. Oscar-winning CODA filmmaker Sian Heder’s upcoming feature Being Heumann will open the September event, while Yan Lanouette Turgeon’s Villeneuve: The Rise of a Legend, a biopic about the late Canadian racing car driver Gilles Villeneuve, will close the annual film festival.

    The Toronto Film Festival is set to run Sept. 10 to 20.

  • Jessica Reynolds and Charlotte Rampling to Star in Opera Drama ‘Maya Butterfly’ (EXCLUSIVE)

    Jessica Reynolds and Charlotte Rampling to Star in Opera Drama ‘Maya Butterfly’ (EXCLUSIVE)

    Fast-rising star Jessica Reynolds (“Kneecap,” “A Woman of Substance”) and Oscar-nominated screen icon Charlotte Rampling (“45 Years,” “Under the Sand”) are teaming up for Irish psychological drama “Maya Butterfly,” set in the world of opera and described as “Tár” meets “Sound of Metal.”

    The project, which comes from Hail Mary Pictures and has been acquired by Wildcard for U.K and Irish distribution rights, marks the directorial feature debut of award-winning Irish opera director Edwina Casey. Principal photography is now underway, with filming to take place on location in the National Opera House in Wexford and Belfast.

    “Maya Butterfly” tells the story of a rising soprano who is secretly losing her hearing and must fight to survive the opening week of a radical opera production, until the truth threatens to destroy both her career and her identity.

    “I am honoured to be realising this film with two immensely talented artists: Jessica Reynolds and Charlotte Rampling,” said Casey, a former Bingham Ray New Talent Award winner whose work spans international opera, film and commercial directing. “Told in the first-person perspective, ‘Maya Butterfly will be a sensory experience of one singer’s destructive process during the most important week of her career. Through its combination of musical theatrics and character-led storytelling, it will be a testament to my love of modern, inclusive, cinema and I am sincerely grateful to Screen Ireland for the continued support.”

    The film is produced by Conor Barry (“The End”) and Richard Bolger (“Father Mother Sister Brother”) for Hail Mary Pictures, with funding from Fís Éireann/Screen Ireland, Northern Ireland Screen and Yellowmoon. Patrick O’Neill (Wildcard), Paul Kennedy (Village Films) and Bernard Michaux (SAMSA Film) also serve as producers. Executive producers are Atilla Salih Yücer, Ronan Flynn, Gillian Cooper and Greg Martin.

    “We are thrilled to be working with Edwina on ‘Maya Butterfly,’” said O’Neil. “It’s an incredible story, and set to be an ambitious, thrilling, and emotional film made for the big screen. It’s always exciting to work on a unique film, something audiences have not seen before, and We cannot wait to bring the film to cinemas next year.”

    Behind the camera, the creative team includes production designer Ruta Kiskyte (“Sing Sing”), director of photography Piers McGrail (“Saipan”), costume designer Saffron Cullane (“Censor”), casting director Áine O’Sullivan (“Blue Moon”) and line producer Michael Donnelly V (“Dublin Oldschool”).

    “Maya Butterfly” was selected for the Torino Film Lab and the Venice Gap-Financing Market, and was developed with the support of Fís Éireann/Screen Ireland, including the Fís Éireann/Screen Ireland and Luxembourg Film Fund Co-Development Fund for Female and Non-Binary Filmmakers.

  • Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    You’ve got to be either a saint or a masochist — maybe a little of both — to try to explain American partisans these days. Seek out figures on the far left or far right, after all, and you’ll get either criticism for snarking (from that side) or blowback for platforming (from the other side).

    Of course such work is essential at a moment when too many of us listen only to our allies. That’s where the sainthood comes in. 

    All of this forms the unique, admirable and I-still-wouldn’t-want-to-be-him professional role of Donie O’Sullivan, the Millennial CNN reporter who travels around the county earnestly-wryly talking to hardcore figures on all sides, who have a noticeable tendency to open up to him. (That recently included an hourlong Hasan Piker-focused special on the Democrats’ insurgent left and a shorter package this week on the Minnesota gubernatorial candidacy of MAGA hero Mike Lindell on the Trumpian right.) In a time of echo chambers, O’Sullivan is both anomaly and antidote. He’s also a legacy journalist in an influencer world, its own Rubik’s Cube.

    As an intense primary season comes down the homestretch — key races testing the far left and far right unfold both in Minnesota and Wisconsin Tuesday — O’Sullivan seems particularly well-positioned to document where he thinks the country is going. Not to mention describe what it’s like to hurl yourself into the spray with every segment. So The Hollywood Reporter hopped on a Zoom with the Ireland-born journalist to ask how he thinks America is doing, and what it’s doing to him. 

    You’ve covered extremism for a whole bunch of years now. How much more extreme is it in 2026?

    I have been covering the fringe for a long time, and what strikes me as we head into the midterms is what was considered fringe on the left and right is now often part of a prominent debate in both parties. On the right you see what Tucker Carlson and Marjorie Taylor Greene are doing, mounting an insurgency of their own. And you have that on the left too, which we’ve seen in some of the primary races. But I also think we have to be careful not to make a false equivalency between the parties. I often see Hasan Piker in the same breath as Nick Fuentes and people who do that aren’t taking the time to listen to either. A lot of speech on the far right is motivated by blatant antisemitism. Fuentes is saying Jews = bad. Endlessly. Unapologetically. If you listen to Piker he makes the point that ‘I’m not antisemitic I’m anti-Zionist.’ Some will argue the effect is the same. But I find fringes on the left really go to great lengths to try and separate Jews and Judaism from Israel. 

    Certainly both sides do seem to be capitalizing on the same sense of disaffection with government.

    That’s what’s so striking — the similarities. I spend a lot of time talking to people on the left and spend a lot of time on the manosphere and in both feel people like the system is not working and want to do something about it. A lot has been exacerbated by feeling alone and on social media; that’s something I feel very there-but-for-the-grace-of-God about too, by the way. We’re up against trillion-dollar industries of algorithms and so it’s easy to fall into rabbit holes, whether it’s a conspiracy theory or just outrage.

    You’ve seen that up close so many times — what’s an example of where that rabbit-holing really turned ugly, in your opinion?

    A lot of young people think that what Luigi Mangione is alleged to have done is not that bad. An innocent man was assassinated walking in the streets of New York, and so it can be hard to understand that. But we should talk to those young people and find out why they don’t think it’s bad. Don’t let being offended by someone’s opinion stop you from talking to them. Because their opinion is not going to change. And I’m personally not interested in changing anyone’s opinion. But I’m a believer in hearing things and sharing things. I even think that about January 6 — there was a lot of disillusion and disaffection. Vigilante justice is not what we should be dong of course. But we should listen to why people feel the need for it.

    Do you get how some people can see that as problematic? That there is a legitimizing effect when you have someone with outlandish theories or dangerous grievances on CNN?

    That’s one of the biggest question on my beat, the platforming. And there are certainly cases where we don’t want to just amplify. But the mainstream media is no longer the gatekeeper of information, which means that a Hasan Piker or a Tucker Carlson have millions of people listening to them already. And the question is whether we can be part of the conversation beyond soundbites or just sit it out and do a disservice to audiences. I’ll choose the conversation. We also have the resources to fact-check these spaces, and I think that gives us a responsibility to cover them.

    Do you think that makes a difference for all the people down the hole? Not rhetorical — genuinely asking.

    I’m overwhelmingly pessimistic. But I do see an opportunity where journalism can shine if we adapt. We did an episode on someone who went down the rabbit hole, a liberal woman in the Bay Area. And it started with concerns about vaccines and soon she got pulled into homophobia and transphobia and racism and antisemitism. All kinds of horrific things. And she came out of it, and realized so much of what she was thinking about vaccines was colored through this terrible lens. So I think it can happen.

    Your job is listening to people you don’t agree with. It’s not a role most people in this country seek out. What makes you do it?

    The thing I’m most interested in in the world is having those difficult conversations. That’s what’s going to get us out of the dark situation we’re in.

    You undertake this job at great risk to yourself. I know most journalists don’t want to be the story but the threats you get online are pretty eye-popping. Does it ever get easier? Do you still get scared?

    I like to think I’m calm about it but this is easier said than done. The first time the full Twitter mob is on you it’s very scary. There’s doxxing, among many other things. I’m definitely in a space now where I’m fine with it. I speak to young journalists sometimes and my advice is that hate on social media is just part of the job now. I wouldn’t suggest anyone getting this business if they want to do impactful reporting and think that won’t be there. Not just covering extremism — covering anything.

    Do any coping techniques help? Besides touching grass.

    [Laughing] That definitely helps. Just getting offline. But a lot of it is I keep a point of being in touch with a lot of the subjects of our stories. Not everybody is happy of course but I do hear a lot that I was fair to them and that helps a lot. I want to be fair to them even if they’re not always going to be fair to us.

    It does seem like a can’t-win situation — someone will always be mad. Which I know people say means you’re doing your job right but it also means that you’re doing your job unhappily?

    The stuff I get in the most trouble on the internet is the stuff that in a way is most important. With this episode on the insurgent left we spoke to Hasan Piker and we spoke to James Carville. Just a really big story. And of course part of the left attacked me for speaking to Piker at all, and then people attacked me for speaking to Carville at all. They’d even cut up clips so that it looked like we were only talking to them. But we worked really hard to give everyone a hearing. [Ed note: Piker, at least, was happy with the segment, telling his livestreaming audience as he watched the special, “Donie’s the man. The Irish guy. He’s very cool, in spite of the fact that he’s at CNN.”] And that’s something we should be doing more of, as a profession, giving everyone a hearing; that’s the job of a journalist. To get beyond the tables in New York and DC and the Acela car to hear what a lot of different people think. 

    One proof of that is Lindell. Not someone whose election conspiracy theories I or many of us agree with. And yet I came away from your segment kind of liking the guy, someone who has a great backstory as a former addict who pulled himself up by his bootstraps and genuinely seems affable. You can almost forget all the dangerous stuff he’s spouting to Donald Trump’s glee. But of course we shouldn’t forget that, especially as he stands a good chance today of becoming the Republican nominee for governor of Minnesota.

    Lindell is a very likable person and I do think unlike a lot of the MAGA guys who don’t believe the shit they’re saying he truly does believe what he’s saying. But is also doing a lot of dangerous and frankly dumb stuff. But the goal is to understand people. Someone on social media will say ‘why are you humanizing this person?’ To which my response is ’they’re human.’ And dehumanizations are the reason we’re in such bad shape today. I haven’t had the opportunity to interview Nick Fuentes one-on-one yet but from the unguarded moments I’ve seen he’s a terribly insecure, sad Gen Z person and we should show that.

    Is that the end goal then? Understanding not just the ideology but the humans behind it?

    I think the goal is helping us run a society. Our job as a country is to change the [feeling of disaffection] and give people a system of government that actually feels like it’s doing someone for them. That makes them become engaged instead of just cheering on violence. That’s what we’re trying to do on-air.

    And that makes them feel like the other side is not out to get them.

    Totally. You know, one thing that comes up a lot is the viewers who disagree with who I’m interviewing will say ‘you made someone look like a fool’ and then viewers who agree say ‘he sounds smart.’ Their reactions can  say a lot more about them than they do the subject.

    What about from the subjects themselves  — you say they feel you’re fair but you do challenge them in the moment and you certainly do in the voiceover later. Plus there’s the fact that you’re from CNN. Do you get a lot of pushback from them?

    I think a lot of people want to be heard and want to talk. I’ve interviewed supporters of election-denial claims who say ‘I don’t agree with you but thank you for having the conversation with me.’

    How do all your reporting excursions leave you feeling about our prospects as a functional society? Is there hope for reconciliation or not really? Do people want nuance?

    I think we’re in a bit of trouble. [Gives a knowing-bitter laugh].  But I think people do want nuance. You’ve seen that with the success of podcasters like Joe Rogan or Lex Fridman. People will listen to hours of a discussion. Rogan is so meta — he’ll go back to ancient civilizations and then even talk about alien civilizations. And so many other podcasts too. A lot of the conversations are dumb and uninformed, yes. But there’s still an appetite.

    But that’s a form of algorithmic engagement too, isn’t it, following one singular leader because he knows how to press the conspiracy-theory button or get us outraged?

    I think that’s right but what this interest also shows is that there’s a huge opportunity for journalists to have these longform conversations too. Because a news organization that comes in to take advantage of this [appetite] has also done their research and anticipated questions and is preparing for pushback.

    You’re more optimistic than I am that what people want is fact-based, clarity-minded journalism. It feels to me too often that it’s more attractive for people to get mad and reductive.

    That’s the challenge of a big outlet: how do we create stuff that’s compelling and gives the space to have these conversations and maybe even can go viral, but isn’t conspiracy theory or just tawdry. I don’t know that we can completely avoid all of that. But I think we can get closer. It’s all a question of quantity. We don’t do a story [on extremists] every single day, nor should we. But also when we discuss these things, let’s really discuss them.

    Give me a prediction on where this all goes, particularly on the left. Are we really witnessing a sea change? Or is this something that rhymes more with 2018, where there’s a Democratic insurgency midway through Trump’s term and then it dies down two years later when he’s gone from office.

    The big difference between now and 2018 is that the left has a massive independent media and infrastructure that keeps getting bigger. Pod Save America and Hasan Piker and everything in-between. The MAGA-verse has had this kind of scale for a decade, and look at what it did for them. Now the left has it. I think two years from now when we’re in the middle of presidential debates the effect will be huge. I don’t think it’s settling anytime soon.

  • Dave Matthews Band Announces 2026 Fall Tour Dates

    The Dave Matthews Band has announced its 2026 Fall Tour, which will kick off on November 4 at Kohl Center in Madison, WI. The U.S. headline run will include shows at Nashville’s Bridgestone Arena, United Center in Chicago, CFG Bank Arena in Baltimore, and Amica Mutual Pavilion in Providence, concluding with a two-night-stand at Madison Square Garden.

    General on-sale for tickets begins on Friday, August 21, at 10 AM (local venue time).

    The band will resume its summer tour on August 28 with the first of two shows at Fiddler’s Green in Greenwood Village, Colorado. The extensive outing will conclude with Dave Matthews Band’s traditional Labor Day weekend residency at the Gorge Amphitheater in George, WA. The supporting acts for the weekend will be Infinity Song and Stephen Wilson Jr. (Friday), Jonah Kagen and Watchhouse (Saturday) and Sierra Hull and Jesse Welles (Sunday).

    Named as a U.N. Environment Goodwill Ambassador in 2019, Dave Matthews Band has a long history of reducing its environmental footprint, going back to its first shows in 1991. This fall, the band will continue its partnership with Live Nation venues to further minimize the environmental footprint of its tour. 2026 marks the third year of the “On The Road To Zero Waste Tour,” which achieved a milestone of over 90% of fan-generated waste at Live Nation venues composted, recycled or donated in previous years. Dave Matthews Band will once again join forces with environmental nonprofit Reverb, celebrating 21 years of partnership focused on making the music industry more sustainable and fan-driven action more measurable.

    In 2026, Dave Matthews Band continues its long‑standing support of The Nature Conservancy’s global reforestation efforts. Seven years strong, this work is rooted in a simple belief that healthy forests help create a healthier planet. With this year’s tour, the band will have planted a total of 7 million trees by the end of 2026. These trees help rebuild critical forests that clean our air and water, provide habitat for wildlife, and support a more stable climate for future generations. Learn more about this work with The Nature Conservancy at dmbtrees.org.

    DAVE MATTHEWS BAND FALL 2026 U.S. TOUR DATES

    11/4               Madison, WI                        Kohl Center

    11/6               Nashville, TN                       Bridgestone Arena

    11/7               Chicago, IL                          United Center

    11/9               Providence, RI                     Amica Mutual Pavilion

    11/10             Baltimore, MD                     CFG Bank Arena

    11/12             New York, NY                      Madison Square Garden Arena

    11/13             New York, NY                      Madison Square Garden Arena

  • WNBA Trailblazer Sheryl Swoopes on How Roku’s ‘Gamechangers: Mother/Athlete’ Documentary Spotlights That Balancing Act

    WNBA Trailblazer Sheryl Swoopes on How Roku’s ‘Gamechangers: Mother/Athlete’ Documentary Spotlights That Balancing Act

    The Roku Originals documentary, “Gamechangers: Mother/Athlete,” made its world premiere at the 24th annual Martha’s Vineyard African American Film Festival (MVAAFF) on Sunday afternoon. The intimate film is part of Roku’s “Gamechangers” series and follows WNBA stars Sheryl Swoopes, Skylar Diggins-Smith, Bria Hartley, Natalie Achonwa and Allison Feaster as they reflect on the joys and challenges of navigating pregnancy, postpartum and motherhood as professional athletes. 

    “I think as viewers, as a public, we often see our athletes as heroes. They’re also human beings, and they’re dealing with a lot of the same day-to-day issues that we deal with,” director Christine Turner told me during a Q&A following the screening. As a storyteller and as a filmmaker generally, it’s always my hope and my goal to tell the stories of complex, multifaceted, multidimensional individuals. It’s important because everyone out there needs to see and understand that.”

    Swoopes, who was the first woman to sign on to play in the WNBA during its inaugural season in 1997, got pregnant just ahead of the league’s first year. In the documentary, she reflects on how terrified she was to share her pregnancy with her team and with the public.

    “There was a part of me that was like, ‘Everybody is counting on me. There’s no way I can get pregnant right now,’” Swoopes said. “At the same time, I have to say it wasn’t my plan, but it was done. And so that’s what I took from that. And listen, I just tried to do the best that I could do.”

    It’s been nearly 30 years since the WNBA was established — funded by the NBA. However, in “Gamechanges: Mother/Athlete,” Swoopes and the rest of the players discuss the lack of resources, particularly regarding their maternal welfare. For nearly three decades, it’s been up to these women to figure out their schedules, finances and everything in between during their pregnancies and thereafter with little guidance or support from the organization. The WNBA did not offer fully paid maternity leave until 2018.

    “I hope people come away with a greater appreciation of what Sheryl and so many other women in the league have done and gone through,” Turner said. “It’s incredibly hard, and it’s admirable and inspiring. I hope we get a better window into the issues women in the league and professional sports are facing. And then I hope that audiences can also just relate to something of themselves or their partner or their loved ones, their mothers or whatever.”

    Motherhood and career are always going to be a balancing act, but it certainly can be done. For Swoopes, it’s all about embracing everything that comes with it.

    “So many times, though, we get caught up in everything else going on around us that we don’t stop to concentrate and focus on ourselves mentally, physically, emotionally, all these things,” Swoopes said. “The first thing I would say is make sure you’re taking care of you before you take that next step. But the other part of that is, for myself, I didn’t plan. It just happened. And when it happened, I embraced it after I had to do all the other things. I would just say make sure you’re ready when it happens. And never question whether the decision you made was right or wrong. You live with that decision, and you make the most of it.”

    “Gamechangers: Mother/Athlete” will stream free on The Roku Channel this fall.

  • Spotify to Start Labeling AI Artists

    Spotify to Start Labeling AI Artists

    Spotify has announced a new feature intended to label AI artist profiles on the platform, one of the company’s most significant moves to date as the streamer looks to offer users more transparency about AI content on the service.

    “AI Personas,” as Spotify is calling the tool, will begin to roll out in mid-September, Spotify said on Tuesday, working as a badge that will appear on the mobile app on artist profiles, as well as in search and on track rows on playlists.

    “Listeners have been clear in telling us that they don’t like seeing an artist profile that seems human, only to find out that the persona is AI-generated,” the company said on Tuesday. “That’s why, starting mid-September, you’ll begin to see an AI Persona badge on some artist profiles. The badge signals to listeners that an artist’s identity may be AI-generated and does not represent a real person. Alongside artist profiles that self-disclose as AI Personas, we will also start applying badges to relevant profiles.”

    While the feature will roll out in September, starting today, artists have the option to disclose if their profile is an AI persona. Notably though, Spotify isn’t stopping at voluntary labeling, saying that “we hope artists will be transparent, so we are giving them the opportunity to disclose, but we won’t rely on self-disclosure alone.”

    The company said it would review and label artist profiles that meet a certain number of listeners and “whose public identity” on their profile “appears to represent photorealistic AI-generated identities.” Spotify’s AI personas badge will specify whether the artist self-identified as AI or if Spotify had to review itself. Artists who Spotify labels as AI will be given an opportunity to either self-disclose or appeal the determination.

    Spotify also said that users on the platform will be able to report artist profiles they believe may be AI as well, though the company didn’t give specifics on when that feature would roll out.

    The badge is specific to the artist profiles themselves, Spotify said, “not about how the music was made.” This seems to mean that if a recording artist’s profile reflects who they actually are, they won’t face any required labeling on their content, even if it’s an AI-generated song. Some of the AI acts who’ve generated headlines in the past several years though, like Xania Monet or Breaking Rust, may have their profiles labeled with the AI Persona badge.

    Spotify said that by default, it won’t include any artists labeled as AI Personas in its editorial or algorithmic recommendations.

    “While we believe all artists have creative choice in determining how they present themselves, Spotify’s programming is focused on elevating music from authentic artists building careers in music,” Spotify said.

    This isn’t Spotify’s first initiative with labeling AI content on the platform. Earlier this year, Spotify rolled out a beta on AI credits on songs, though the disclosures are dependent on if the artist chose to include the information.

    Spotify’s announcement comes as the music industry overall continues to explore how to handle AI music. Some services such as Bandcamp decided to outright ban AI music on the platform. Last month, a coalition led by the RIAA and IFPI had pushed streaming services to adopt labels for songs similar to how explicit music is currently labeled. The major record labels also called on the chart organizers around the globe to disqualify AI slop tracks from being included.

  • Ari Emanuel’s Mari Acquires Broadway and West End Theater Owner ATG Entertainment

    Ari Emanuel’s Mari Acquires Broadway and West End Theater Owner ATG Entertainment

    Ari Emanuel’s Mari has signed a deal to acquire Broadway and West End theater giant ATG Entertainment.

    The financial terms of the agreement, which sees Mari acquiring the theater owner from private equity firm Providence Equity were not disclosed, but the deal size has been pegged at $6 billion.

    This gives the live events company a larger foothold in the theater space, after it acquired ticketing company TodayTix in October 2025 shortly after Mari itself was launched. The transaction is still subject to regulatory approvals. But once closed, the plan is for ATG to continue under its existing brand and leadership and “retain its commitment to creative independence,” according to the release.

    The acquisition marks a major shakeup of the Broadway landscape, which rarely sees theaters change hands, as the historic Shubert Organization owns the majority of Broadway theaters, with 17 of the 41 total, and the long-standing Nederlander Organization owns nine. ATG is the third largest theater owner, with seven theaters, after it acquired a majority stake in Jujamcyn Theaters in 2023 (the last major big theater deal). Reports of a possible ATG deal surfaced in June.

    In addition to Broadway, where ATG also owns the Lyric Theatre, home to Harry Potter and the Cursed Child, the theater group has 10 theaters in the West End, including the Lyceum, home to long-running hit The Lion King and the Savoy Theatre, home to box office hit Paddington the Musical. In total, the company owns, operates or programs 70 venues across Britain, the U.S., Germany, Austria and Spain.

    The current Mari portfolio includes the tennis events, the Miami Open and Madrid Open, Frieze art fairs and car auction company Barrett Jackson. Emanuel is also CEO of TKO, home to the WWE and UFC, and executive chairman of WME Group.

    “I’ve spent my whole career in entertainment, and I started out in theater. I’ve seen the industry reinvent itself many times, but live has only grown more powerful. Nothing connects great talent with audiences more directly. ATG has built one of the world’s great theater businesses around that experience. This is a long-term bet on where live goes next,” Emanuel said.

    Providence Equity partners acquired a majority stake in ATG for about $500 million in 2013, from Exponent Private Equity.

    Sonia Friedman, a prominent West End and Broadway producer behind shows such as Paddington and Harry Potter and the Cursed Child and a producing partner of ATG Entertainment, praised the deal, saying the investment should help ensure the sustainability of the industry and bring in new artists.

    “As a producer, I have always believed in the power of live theatre to bring people together, challenge perspectives and create unforgettable shared experiences. Our industry has always needed partners prepared to think long term, invest with confidence and support creativity with real ambition. What I find compelling about MARI is its breadth of experience across live events and its respect for creative independence. That combination gives us the chance to champion bold new work, reach broader and more diverse audiences and strengthen the future of live theatre for generations to come,” Friedman said in the release.

  • Marina Signs With UTA in All Areas (EXCLUSIVE)

    British singer-songwriter and pop diva Marina (formerly Marina and the Diamonds) has signed with United Talent Agency for global representation in all areas, encompassing touring, media, filmed entertainment, brand partnerships, and more.

    The signing comes as the Welsh-Greek singer is slated to wrap her 40-plus-date “Princess of Power” tour, in support of the album of the same name, about which Variety wrote, “She’s maintained a steady presence over the years, but her new album, ‘Princess of Power,’ is something very different — a sound and image redefinition and revitalization that seems defined by a lyric from the title track that goes ‘I’ve been living life locked up in tower/ But now I’m blooming like a flower.’ The album is filled with deliciously pulsating electronic rhythms and hilarious and risque lyrics that contrast startlingly with her intentionally mannered, arch singing style, which can vault suddenly into a sky-scraping soprano.” The album marked her first release as an independent artist via her own label Queenie Records in partnership with BMG.

    The tour included dates at Radio City Music Hall in New York, the Greek Theatre in Los Angeles, Alexandra Palace in London, two shows at the Pepsi Center in Mexico City, as well as the Coachella, Lollapalooza, Austin City Limits, Outside Lands, Governors Ball, and Bonnaroo festivals. 

    Marina launched her career in 2009 and saw major chart success in the U.K., with 2012’s “Electra Heart” debuting at No. 1 and “Froot” and “Love + Fear” both making the top 10.

    Marina is represented by Janelle Lopez Genzink, Bianca Nour, and Merce Jessor at Volara Management.