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Category: Entertainment

  • Dave Mason, Traffic Co-Founder and “We Just Disagree” Singer, Dies at 79

    Dave Mason, the singer, songwriter and guitarist who first found fame with Traffic and was inducted into the Rock and Roll Hall of Fame as a member of the band, died Sunday. He was 79.

    “On behalf of his family, it is with deep and profound sadness that we share the news of the passing of Dave Mason,” said a statement from the family shared with Rolling Stone. “Dave Mason lived a remarkable life devoted to the music and people he loved.”

    No cause of death was given.

    Mason, who co-founded Traffic and wrote one of their best-known songs, “Feelin’ Alright,” later a hit for Joe Cocker, scored his own solo U.S. hit in 1977 with “We Just Disagree,” co-written with Jim Krueger.

    He recorded and performed with the likes of Paul McCartney, George Harrison, The Rolling Stones, Jimi Hendrix, Eric Clapton, Michael Jackson, David Crosby, Graham Nash, Steve Winwood, Fleetwood Mac, Delaney Bramlett and Cass Eilliot.

    Born May 10, 1946, in Worcester, England, David Thomas Mason fell 20 feet from a ceiling loft at the age of 5, bending a hipbone and contacting a rare disease that landed him in a hospital for 18 months and forced him to learn how to walk again.

    His initial dream was to become a member of the Royal Air Force, but at 16, he began to play guitar and sing, and by the following year, was a working musician in his first band, The Jaguars, before forming The Hellions, striking up a lifelong friendship with Jim Capaldi.

    The two wrote their first song together, “Shades of Blue,” and recorded it as a B-side for their Pye Records single, a cover of Jackie Deshannon’s “Daydreaming of You,” produced by rock gadfly Kim Fowley. The two continued to work as a team, forming yet another group, The Deep Feeling, before hooking up with two Capaldi acquaintances, Winwood and Chris Wood, to form Traffic.

    Traffic’s mythology began when they retreated to a secluded stone cottage in the countryside to write and rehearse material for their classic 1967 debut, Mr. Fantasy. The group’s first single was the Winwood/Capaldi-penned “Paper Moon,” followed by Mason’s “Hole in My Shoe,” which went to No. 2 on the U.K. chart.

    Mason’s whimsical melodies, light feel and mellow vocals provided a contrast to Winwood on his three tracks, “Utterly Simple,” “House for Everyone” and “Hope I Never Fine Me There,” demonstrating his virtuosity on sitar, vocals and guitar.

    Mason suddenly quit the band after their debut album over artistic differences with Winwood, recording a solo single, “Little Woman,” for Island Records in 1969, the B-side of which, “Just for You,” appeared on Traffic’s third album, Last Exit. Mason had rejoined the band briefly during sessions for their second, self-titled album (which included his “Feelin’ Alright”) before leaving again for a solo career and moving to the U.S. in 1968. When Traffic came over for their first stateside tour in March, he rejoined the band for a handful of songs.

    When Traffic broke up again in late ’68, Mason, Capaldi and Wood teamed with Mick Weaver in the short-lived Wooden Frog, while Winwood joined the super group Blind Faith with Eric Clapton and Ginger Baker.

    During this period, Mason was active as a session player, turning his friend Jimi Hendrix on to Bob Dylan’s “All Along the Watchtower” and playing 12-string acoustic guitar on the recorded version. He also appeared, though was uncredited, on the Rolling Stones’ Beggars Banquet through his relationship with Traffic producer Jimmy Miller, and he also played on George Harrison’s All Things Must Pass with Clapton.

    He sang on both Hendrix’s “Crosstown Traffic” and The Beatles’ “Across the Universe.” Other cameos included work with Graham Nash (“Songs for Beginners,” “Wild Tales”), McCartney (“Venus and Mars”), Joe Walsh (“You Can’t Argue With a Sick Mind”), Ron Wood (“Gimmee Some Nick”), Clapton (“Crossroads”) and Stephen Stills (“Thoroughfare Gap”).

    Having relocated to Los Angeles in ‘69, Mason joined Delaney & Bonnie & Friends, playing lead guitar for the band when they opened for Blind Faith, where Clapton took an immediate liking to the group and eventually joined them. Mason’s “Only You Know and I Know” became a No. 2 hit for them and in 1970, he signed with Blue Thumb Records as a solo act, co-producing his debut album with Tommy LiPuma.

    The first result of the sessions was “World in Changes,” a single released in April 1970, followed by the classic Alone Together album in June. The LP peaked in the Top 25, and a second single, Mason’s take on his own “Only You Know and I Know,” became a Top 40 hit.

    While in L.A., Mason struck up a friendship with Cass Elliot, forming a duo that debuted at the Hollywood Bowl and then played the Fillmore East in New York, releasing the 1971 album, Dave Mason & Cass Elliot, before Mason briefly hooked up with a new configuration of Traffic for the live album, Welcome to the Canteen, featuring a version of “Feelin’ Alright” and “Sad and Deep as You,” recorded in the U.K.

    Mason decided to remain in England after the shows and was an original member of Derek And The Dominos prior to the release of the song “Layla,” when he was replaced by Duane Allman after recording several tracks as their second guitarist. “That’s when Eric was pretty fucked up,” said Mason. “And there was just never any rehearsing. I just got bored and returned to the States.”

    Legal issues with Blue Note Records had Mason withholding the follow-up to the successful album Alone Together, resulting in a lawsuit and the label releasing unauthorized “bootlegs” of the material such as “Headkeeper” in 1972 and “Dave Mason Is Alive” in 1973. Leaving Blue Note by declaring personal bankruptcy, he was snapped up by Columbia Records and legendary label exec Clive Davis just prior to his own ignominious departure from the label.

    The first album under the arrangement, 1973’s It’s Like You Never Left, included one of his all-time best ballads, with a harmonica solo from Stevie Wonder on the song “The Lonely One,” but it wasn’t until Let It Flow, released in 1977, that Mason struck paydirt, going platinum on the strength of the hit single, “We Just Disagree,” which peaked at No.12 on the Billboard Hot 100, and was later successfully covered by country singer Billy Dean.

    In 1979, Mason played himself in the roller disco movie Skatetown, U.S.A. opposite Scott Baio, Flip Wilson, Ruth Buzzi and, in his first big screen role, Patrick Swayze, writing and performing two songs, including the film’s theme. His single, “Save Me,” from the 1980 album, Old Crest on a New Wave, featured a duet with Michael Jackson.

    During this time, Mason was a major concert attraction, headlining Madison Square Garden and the L.A. Forum before growing taking a break, thanks to problems with drug and alcohol addiction. He returned to recording with 1987’s “Some Assembly Required,” on the Canadian Maze label (A&M in the U.S.), then hooked up with Voyager/Mca for Two Hearts later that same year. He briefly joined a new Fleetwood Mac lineup in 1994 and 1996 for tours and the 1995 album, Time, which included two songs he co-wrote.

    In 1997, Mason was scheduled to join Ringo Starr & His All Starr Band to perform “Only You Know and I Know,” “We Just Disagree” and “Feelin’ Alright,” but he was dropped from the lineup just before the tour started.

    In 2002, a Dave Mason Live at Sunrise DVD was released, as he continued to tour, performing 100 shows a year with his Dave Mason Band and, more recently, Traffic Jam. In 2004, Traffic and Mason were inducted into the Rock and Roll Hall of Fame by Dave Matthews.

    Mason released 26 Letters, 12 Notes, his first solo album in more than 20 years in 2008 and began to release some of his archival recordings since then, including 2014’s “Future’s Past,” and 2016’s “Traffic Jam,” both featuring new material and rerecorded versions of his most iconic songs.  

    Mason was active in a number of philanthropic pursuits, including an official supporter of Little Kids Rock, a nonprofit organization providing free musical instruments and lessons to public school children throughout the U.S.

    He was also a founding board member of Yoga Blue, which is devoted to teaching yoga and other holistic practices to those recovering from substance abuse. He also was a founder of Rock Our Vets, a charity helping supply food and clothing to homeless veterans and laptop computers for those aspiring to continue their education, as well as a suicide prevention program.

  • Dave Mason, Rock & Roll Hall of Famer Who Co-Founded Traffic and Sang ‘Feelin’ Alright’ and ‘We Just Disagree,’ Dies at 79

    Dave Mason, Rock & Roll Hall of Famer Who Co-Founded Traffic and Sang ‘Feelin’ Alright’ and ‘We Just Disagree,’ Dies at 79

    Dave Mason, the Rock & Roll Hall of Fame member who found fame as the co-founder of Traffic in the 1960s and went on to a successful solo career in the ’70s and beyond, died Sunday at age 79 at his home in Gardnerville, Nev. No cause of death was given.

    Mason’s most famous songs include “Feelin’ Alright?,” which he wrote and sang for Traffic, and his solo hits “Only You Know and I Know” and “We Just Disagree.”

    “On behalf of his family, it is with deep and profound sadness that we share the news of the passing of Dave Mason,” said a statement from his press representative. “On Sunday, April 19, the Rock & Roll Hall of Fame inductee, celebrated songwriter, musician, singer, and author passed away peacefully at his home in Gardnerville, NV. … Dave Mason lived a remarkable life devoted to the music and the people he loved.”

    Mason was inducted into the Rock & Roll Hall of Fame with the other original members of Traffic in 2004.

    He also put in ample time working with other musicians on recording projects, including playing on Jimi Hendrix’s “Electric Ladyland,” George Harrison’s “All Things Must Pass” and fellow Traffic member Jim Capaldi’s “Oh How We Danced,” along with a cameo on the Rolling Stones’ “Street Fighting Man.”

    The most curious turn in his career came in the 1990s when he briefly became a member of Fleetwood Mac, appearing on the 1995 album “Time” and on tour along with Bekka Bramlett — the daughter of his earlier collaborators Delaney & Bonnie — during a period when Lindsey Buckingham and Stevie Nicks had left the group. The revised lineup found disfavor among many Fleetwood Mac fans, and Buckingham and Nicks rejoined for a reunion of the “classic” lineup two years later.

    Mason’s health issues became known in 2024 when he canceled his tour for the following year, citing unspecified challenges.

    Mason is survived by his wife, Winifred Wilson, and his daughter, Danielle. He was preceded in death by his son, True, and his sister, Valerie Leonard.

    More to come…

  • ‘Secret Lives of Mormon Wives’ Will Resume Production Following Filming Pause Amid Taylor Frankie Paul Investigation

    The Secret Lives of Mormon Wives will resume production following a pause initiated by an internal investigation surrounding Taylor Frankie Paul and Dakota Mortensen, The Hollywood Reporter has learned.

    Casting details were not made available, leaving Paul’s fate with the show still unclear. Details on when cameras will pick up were also not outlined.

    News that the Emmy-nominated Hulu series halted filming on its forthcoming fifth season broke in mid-March, amid an alleged domestic incident involving The Bachelorette star and her ex.

    At the time, a spokesperson for the Draper City Police Department told People that there is an open “domestic assault investigation” between Paul and Mortensen. They added that “allegations have been made in both directions” and “contact was made with involved parties on [Feb.] 24th and 25th.”

    After the alleged incident was made public, a video of the events leading up to Paul’s prior 2023 arrest was leaked, showing the reality star throwing barstools at Mortensen while her daughter was present. Hours later, ABC decided to pull season 22 of The Bachelorette, three days before its scheduled March 22 premiere.

    The next day after the video was published on TMZ, NBC News obtained audio of a Zoom call held on March 7 with the Mormon Wives cast and three Disney executives, where they voiced concerns of continuing the series with Paul amid the investigation. THR confirmed that Mormon Wives production launched their own investigation into the conflicting claims; Mormon Wives filming was to remained paused until concluded.

    Cameras were not up when Paul’s season of The Bachelorette was pulled by ABC, but that is not the only news from the Mormon Wives cast that has not been filmed amid the production pause. Notably, Jessi Draper’s husband filed for divorce (on the same day Paul’s season was yanked from air).

    The businesswoman and reality star went on Alex Cooper’s Call Her Daddy podcast Wednesday to discuss their split, and she also spoke about the recent headlines surrounding Paul and Mormon Wives.

    Draper spoke about the filming pause, clarifying that there were two breaks in production on season five. She explained that the first pause came from production “when we found out he filed a police report. So this was before it broke,” referring to news that a second domestic assault investigation was initiated by the Draper City Police Department following a February incident involving Paul and Mortensen.

    The second pause in production came from the Mormon Wives cast, Draper said. “A little bit before news broke, but we knew it probably was going to, us girls decided, so we went to production and the network and they were all so supportive,” she said.

    “Me and the girls, we did decide to stop filming when we found this out, because we were starting to hear things a little bit before it leaked, and we just didn’t want to be filming and say the wrong thing on camera, not knowing the whole story yet,” she explained. “We didn’t want to have to process all this information for the first time and then also be speaking about it. So we just thought for everyone’s mental health, let’s take a beat and not film right now.”

    The Mormon Wives star admitted that she does not know what all of the news circling Paul means for the future of the Hulu show, but that they were waiting for the dust to settle before jumping back into filming. However, she noted then that she would potentially feel comfortable to pick up cameras since the information is now public.

    Draper explained, “I think now we’re at a point where we’re like, ‘OK, the world knows and the info’s out there, and so now we’re good and we can speak on the things we know and we can talk about it in a real way,’ rather than before, we were like, ‘We don’t even know if this is gonna get out,’ so we didn’t know if we could even talk about it when we were filming. Now, we can.”

    On March 25, NBC News reported that Paul is under investigation for an alleged third domestic violence incident, also involving her ex Mortensen, that allegedly occurred in 2024. (All three alleged incidents have involved Paul and Mortensen.)

    More to come.

  • ‘The Balusters’ Broadway Review: Anika Noni Rose, Richard Thomas Star in Brilliant and Brutally Funny Look at a Dysfunctional Neighborhood Association

    ‘The Balusters’ Broadway Review: Anika Noni Rose, Richard Thomas Star in Brilliant and Brutally Funny Look at a Dysfunctional Neighborhood Association

    It’s easy to get depressed about national politics. The people running things are nasty, brutish and eager to appeal to baser instincts rather than better angels.

    As “The Balusters,” the story of a neighborhood association riven by prejudice and petty skirmishes, demonstrates, politics aren’t much better at the local level. The debate here may be over whether to install a stop sign at a dangerous intersection, but it’s just as heated, just as likely to erupt into savage attacks, as the ones that turned D.C. into a cesspool.

    Written by David Lindsay-Abaire with a keen understanding of human nature and directed by Kenny Leon with a master’s skill for building onstage drama to a fever pitch, “The Balusters,” which debuts tonight at Manhattan Theatre Club, may be the most vital and timely show on Broadway this season. It’s definitely the funniest.

    Set in Vernon Point, a historic district with big yards, wide boulevards and lovingly restored brownstones, “The Balusters” unfolds in the elegant front parlor of Kyra Marshall’s home. She’s recently moved to the area from Baltimore, drawn by the tree-lined streets and a family-friendly atmosphere she likens to Mayberry. Kyra, played by Anika Noni Rose, is quickly invited not only to join the Neighborhood Association, but to host its weekly meetings. There, the wine flows freely, and the topics range from stolen Amazon packages to the evils of vinyl siding.

    Instead of hanging back, Kyra has something she’s desperate to get on the agenda. Her house sits on Palmer Road, a busy thoroughfare. She’s worried about her daughters’ safety and wants the board to ask the authorities to install a stop sign. That puts her in conflict with Elliott Emerson (Richard Thomas), a local realtor who rules the community organization with an aw-shucks demeanor that masks a cage fighter’s spirit. Elliott is worried that a stop sign or, heaven forbid, a traffic light, would hurt the esplanade’s aesthetics, and he’s not about to let Kyra have her way.

    “You can stand at one end of Palmer and see all the way to the other end, and it’s just a clean line of stately homes and trees and nothing else,” Elliott rhapsodizes, his throat catching with emotion. “It’s like standing in an old postcard.”

    His solution: Don’t let your kids play in the street. Well, that won’t do, and Kyra soon embarks on a mission to install the sign, one that draws in every member of the community board while exposing the tensions simmering just below Vernon Point’s dignified facade. Elliott reveres the neighborhood’s history — his family has deep roots in the community, and he grew up here — but he fails to appreciate who was left out of his overly idealized portrait of its past. He boasts to the other association members about the hard work it took to keep developers from leveling these brownstones and putting up “projects,” without thinking more deeply about who the neighborhood was being preserved for?

    “It was lucky we got landmarked when we did,” Elliott says. “It put an invisible wall around us. At least
    in our little citadel, things would stay as they were.”

    But, of course, things didn’t stay as they were. Kyra, a Black woman, and other members of the association — such as Melissa (Jeena Yi), its Asian American vice president, and Brooks (a sublime Carl Clemons-Hopkins), a gay African American travel writer — are part of a new generation of homeowners who are changing the composition of Vernon Point. And though Elliott, who calls himself a proud Democrat, may not recognize it, he’s struggling to accept his newer neighbors.

    “The Balusters” has a compelling premise: The small stakes of local government make its politics more vicious and bitter. But what elevates the play into something truly great is that Lindsay-Abaire refuses to make Elliott a conventional villain. Elliott loves his community, and he has been dealing with major medical issues. At some level, Elliott wants to preserve Vernon Point because to see it change would be to acknowledge his own mortality.

    And while the audience’s sympathies are clearly with Kyra — only the most sociopathic preservationist believes keeping a view intact is more important than saving lives — she has her own blind spots. Kyra may be rich, but she had to climb up the socioeconomic ladder to get there. Yet that doesn’t prevent her from treating her housekeeper, Luz (Maria-Christina Oliveras), more as the help than as an equal. At one point, she betrays Luz’s confidence to bolster her side of an argument with Elliott. Nothing, it seems, is more important than getting the upper hand.

    Rose and Thomas are thrilling to watch as they try to outmaneuver each other, but Leon and Lindsay-Abaire make sure the other members of the show’s 10-person ensemble get their moment to shine. Oliveras is fascinating as a woman who may not live in Vernon Point, but knows the community better than the people who have called it home for generations. Margaret Colin is a ball-busting scream as Ruth Ackerman, the organization’s treasurer, who is never happier than when she’s terrorizing Willow (Kayli Carter), the group’s wokest member. But the show’s MVP is Marylouise Burke as Penny, a daffy 70-something widow, who is shrewder than she seems. Penny’s back may be giving out, her barometric migraines may be killing her, but she’s been around long enough to know the score. If Burke doesn’t get a Tony Award nomination, there’s no justice.

    “The Balusters” doesn’t offer a hopeful portrait of community government — it can be hard to see the virtue of having heated debates over dog poop disposal etiquette when the world is on fire. But you leave the play reminded of the importance of staying engaged. Today’s battle may be over erecting a stop sign. Tomorrow’s fight could have far greater stakes. Love your neighbors or loathe them, you still have to find a way to live with them.

  • ‘The Secret Lives of Mormon Wives’ to Resume Season 5 Filming After Pausing Amid Taylor Frankie Paul’s Domestic Violence Investigation

    ‘The Secret Lives of Mormon Wives’ to Resume Season 5 Filming After Pausing Amid Taylor Frankie Paul’s Domestic Violence Investigation

    Production on Season 5 of “The Secret Lives of Mormon Wives” has resumed after going on pause weeks ago amid a domestic violence investigation involving Taylor Frankie Paul and her ex-boyfriend Dakota Mortensen. It has not yet been revealed whether Paul or Mortensen will be involved in Season 5 moving forward.

    The cast of “The Secret Lives of Mormon Wives” includes Whitney Leavitt, Mayci Neeley, Mikayla Matthews, Jessi Draper, Miranda McWhorter and Jen Affleck as well as their husbands and exes.

    News broke on March 16 that production had paused on “Mormon Wives” as the police department of Draper City, Utah was investigating domestic violence allegations Paul and Mortensen made against each other relating to an incident that occurred in late February. Though Season 5 of “The Secret Lives of Mormon Wives” was in production at the time, the incident did not take place on camera.

    The February incident was not the first conflict of this nature between Paul and Mortensen; in 2023, Paul was arrested and later pleaded guilty to aggravated assault against Mortensen. Though that altercation was widely known about and covered in depth during Season 1 of “Mormon Wives,” on March 19 of this year, TMZ published footage of it that had previously only been played in court. The video showed Paul throwing metal barstools at Mortensen while one of her children was nearby. (Though Paul and Mortensen share a son, he had not been born at the time of the incident; the child heard in the video is from Paul’s previous marriage.)

    Swiftly after the TMZ leak, Disney unscheduled the March 22 premiere of “The Bachelorette,” which had already been filmed with Paul as the lead. “In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of ‘The Bachelorette’ at this time, and our focus is on supporting the family,” the company said in a statement. A spokesperson for Paul released a statement shortly afterward, saying, “Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security. After years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm. There are too many women who are suffering in silence as they survive aggressive, jealous ex-partners who refuse to let them move on with their lives. Taylor has remained silent out of fear of further abuse, retaliation, and public shaming. She is currently exploring all of her options, seeking support, and preparing to own and share her story.”

    After being reviewed by multiple attorneys, the court announced earlier this month Paul will not face any charges.

  • Netflix Among Suitors Interested in Buying Radford Lot

    Netflix Among Suitors Interested in Buying Radford Lot

    Netflix is among the potential buyers of the Radford Studios lot in Studio City, according to a source familiar with the talks.

    The streamer’s interest in the lot, which went into foreclosure earlier this year, was first reported on X on Sunday by Michael Trujillo, a political campaign consultant. Bloomberg confirmed the report on Tuesday, citing three sources with knowledge of the discussions.

    Though the deal is not done, Netflix is believed to be a leading contender to buy the property.

    Hackman Capital Partners bought the facility for $1.85 billion from ViacomCBS — as it was then known — in 2021. But occupancy has fallen dramatically since then while interest rates rose sharply, forcing the company default on its $1.1 billion note and ultimately to turn over the lot to Goldman Sachs, its largest lender.

    Trujillo cited a sale price of around $400 million, saying he had heard rumors about the sale from brokers and City Hall.

    Hackman continues to manage the property while Goldman looks for a buyer. Both companies declined to comment. Netflix also declined to comment.

    The 55-acre site was first built in 1928 and is overdue for a renovation. Hackman announced plans in 2023 to put $1 billion into the property, but those plans have been put on hold.

    Netflix has committed to build a $1 billion studio at Fort Monmouth, a former Army base in New Jersey. The streamer will be eligible for a 40% state subsidy for productions filmed at the studio, and has also been approved for up to $397 million in tax credits for redeveloping the 292-acre parcel.

    Netflix has a similar deal with New Mexico, where it bought ABQ Studios in 2018 and invested heavily to expand it. The state offers an uncapped tax incentive of 25%-35% for “production partners,” like Netflix, that make long-term commitments to production infrastructure.

    Hackman, the world’s largest independent studio owner, also owns Culver Studios, Television City, and other studios in L.A., New York, the U.K., Vancouver and New Orleans.

  • ‘Michael’: What Critics Are Saying About the King of Pop’s Biopic

    ‘Michael’: What Critics Are Saying About the King of Pop’s Biopic

    Michael is dancing its way to theaters later this week — and the critics are already talking.

    Following its world premiere, reviews were unveiled, but they appear to be more critical. In the new movie, directed by Antoine Fuqua, the story follows the late Michael Jackson‘s rise to fame from when he was a child in the Jackson 5 in the ’60s to becoming the King of Pop, who was widely recognized as the world’s biggest entertainer, before he died in 2009.

    Michael’s nephew, Jaafar Jackson, son of Jermaine Jackson, plays the superstar, taking over from Juliano Valdi, who opens the film when Michael was 10. More cast members include Miles Teller as attorney John Branca, Colman Domingo as Michael’s father Joe Jackson, Kat Graham as Diana Ross, Nia Long as Katherine Jackson, Laura Harrier as Suzanne de Passe, Kendrick Sampson as Quincy Jones and Amaya Mendoza as young La Toya Jackson. Michael’s sister, Janet Jackson, is notably missing.

    While many members of the Jackson family, who showed up at the Dolby Theatre premiere on Monday night to support the film, Paris Jackson, Michael’s only daughter, was absent. She has been vocal against the movie, previously speaking out about how she wasn’t involved with the movie, after reading a draft and giving notes about “what was dishonest/didn’t sit right with me and when they didn’t address it, I moved on with my life.”

    “It’s very important that everybody in the family was involved and took part in this to make sure you get it right,” La Toya Jackson told The Hollywood Reporter. “A lot of times people think they know the story and they read about things, but when the family’s involved, the family can say yay or nay.” But when asked about Paris Jackson’s comments, she noted, “everybody has their opinion and their choice.”

    La Toya Jackson, however, was seemingly very pleased with the film, especially Jaafar’s performance. “I was flabbergasted. I have to tell you that you think it’s Mike,” she said. “You forget it’s Jaafar, you think it’s Michael.”

    Michael has a 31 percent rating on Rotten Tomatoes as of Tuesday. Below, see what critics are saying about the movie.

    THR’s chief film critic David Rooney agreed with La Toya Jackson’s take, writing in his review, “Jaafar nails the sweet, soft-spoken voice with which Michael projected a childlike innocence and vulnerability, but also the single-minded focus with which he pushed his career forward. We see his natural affinity for children in fan interactions or hospital visits to pediatric cancer wards.”

    He added overall: “The film leaves itself open to accusations of making Michael a saint, which will not sit well with the cancel crowd. If you are unwilling to separate the art from the artist, this will not be a movie for you. But for lifelong fans who cherish the music, the movie delivers. Simply as a celebration of Jackson’s songs and stagecraft, it’s phenomenal, shot by Dion Beebe with visual electricity in the performance sequences. The music has never sounded louder or better.”

    USA Today’s Melissa Ruggieri wrote in her review that the film, “makes clear that Jackson’s arrested development began in childhood, when he reads Peter Pan by flashlight under the covers in the family’s home in Gary, Indiana. Later, he populates the family compound in Encino, California, with animals he views as friends, not pets. Too bad the blatant CGI versions of a llama, giraffe, python and yes, Bubbles the chimp are so cringeworthy that you forget to have empathy for Jackson, the lonely man-boy.”

    She later added, “Jaafar may share his late uncle’s megawatt smile, lithe frame and Bambi eyelashes. But his liquid dance moves – highlighted as he teaches gang members the footwork in the ‘Beat It’ video − and soft-spoken cadence are studied to perfection. This is not about nepotism.”

    Kevin Maher of The Times U.K. teased how Domingo portrayed Joe Jackson, writing in his review, “There are a handful of childhood scenes in which Jackson’s father, Joe is depicted as controlling and violent, which establishes one single dramatic beat for the entire film — will Michael ever escape from underneath Joe’s control?”

    He added a more critical take on the ending, “The music scenes nonetheless are quite brilliant and thrilling — Jaafar is an accomplished impressionist. Jackson was a once-in-a-generation genius and his musical legacy is quite safe — his sales spiked by 10 per cent during the Leaving Neverland controversy. In the end he probably deserved more, for better and worse, than this.”

    The Independent’s Clarisse Loughrey wrote, “While a final card states that ‘his story continues’ in what is for now a planned sequel, what the film does include are multiple sequences of the singer visiting sick children in hospital, alongside heavy references to the Neverland Ranch. But the ultimate question of how Michael chooses to depict Jackson in context of the allegations is surprisingly hard to answer.”

    “This is a frustratingly shallow, inert picture, a kind of cruise-ship entertainment, which can’t quite bring itself to show that Michael was an abuse victim, brutalised by his father and robbed of his childhood,” The Guardian’s Peter Bradshaw wrote in his review. “Perhaps this is because it would have a cause-and-effect implication, gesturing tactlessly at the story’s second half which may or may not happen in a couple of years, the part of Jackson’s life in which his behaviour was increasingly perplexing, dangling a baby over a hotel balcony — as well as facing sexual abuse allegations.”

    The New York Times’ Alissa Wilkinson also addressed the serious subject matter that was left out of the film. “The movie omits the really hard stuff that plagued Jackson; his scalp surgery after experiencing third-degree burns in 1984 now becomes mostly a driver of his success and determination to ‘shine my light, to spread love and joy, to heal,’ but we never witness the painkiller addiction that grew from it,” she wrote in her review, adding, “The movie itself becomes a tale of triumph and glory for someone everyone admired, rather than an estate’s attempt to scrub clean the life story of a star who has been multiply accused, in harrowing terms, of child sexual abuse. That same estate is the reason that an HBO documentary that gives space for two men who have accused Jackson to tell their story has been deleted from its streaming platform; you can’t watch it, because it might as well not exist.”

    “This isn’t really a biopic,” Rolling Stone’s David Fear wrote in his review. “This is the Passion of St. Michael, rendered with great fidelity to and emphasis on both Jackson’s undeniable suffering and equally undeniable talent. Jaafar Jackson does bear an uncanny resemblance to his late uncle, and clearly knows how to replicate his signature moves, his physical fluidity, his beaming smile reserved for fans, animals, and hospital residents. But watching Michael’s greatest hits — the Motown 25 showstopper, the ‘Thriller’ video choreography, the gang-member summit turned dance rehearsal that begets ‘Beat It’ — reproduced with such stunning accuracy is, frankly, a little depressing. You’re reminded of the first time you heard Jackson’s music, and how overwhelming the hooks, the production, the chops, the sheer energy that characterized his live performances and videos earned him the title the King of Pop.”

    Michael releases in theaters on Friday.

  • T-Mobile Deepens Its Promise of Fastest 5G Internet With Same-Day Delivery, Powered by DoorDash

    T-Mobile Deepens Its Promise of Fastest 5G Internet With Same-Day Delivery, Powered by DoorDash

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    In December 2025, T-Mobile implemented same-day phone delivery, powered by DoorDash as part of its 15-Minutes to Better program, the mobile provider’s effort to make switching carriers quicker and easier than ever. Now, T-Mobile Home Internet is continuing its DoorDash partnership by similarly offering same day delivery of its 5G Gateway, the small wireless device (used to power 5G home internet) that combines the capabilities of a modem and router (used to power traditional cable internet).

    To get T-Mobile’s fastest internet[1] — now available with same-day delivery powered by DoorDash — customers can take advantage of the new program that launched on April 9. Simply select the T-Mobile 5G Home Internet plan that’s best suited to your needs (more on each option below), with plans starting as low as $35 per month.[2] Once the order is placed, you can track their same-day 5G Gateway delivery in real-time. Once the Gateway device arrives, T-Mobile’s focus on speed and simplicity continues with a simple 15‑minute self‑install, one of the biggest draws of 5G home internet vs. cable.

    Beyond the internet provider’s new DoorDash partnership, T-Mobile is enticing customers to make the switch with a variety of other unique benefits. First, T-Mobile offers a 15-day worry-free test drive, meaning new users can test T-Mobile 5G Home Internet with no penalty. Plus, for customers who are currently under Big Cable contracts, T-Mobile will pay off any early termination fees up to $750.[3] And with the provider’s five-year price guarantee, customers who sign up now will have their rate locked in for at least five years, exclusions like taxes and fees apply.

    As for choosing which T-Mobile 5G Home Internet plan is the right fit, the three offerings are Rely (the most affordable), Amplified (extra value) and All-In (the best value). The plans start at $35 per month, $45 per month and $55 per month, respectively, which already includes a $15/month discount when bundling with voice and AutoPay, plus taxes and fees.

    While cable internet relies on wired connections, 5G instead uses the same cellular network as mobile phones to provide reliable connectivity where wires can’t reach. Check your address’s 5G eligibility here, and visit T-Mobile’s Home Internet landing page to further compare the Rely, Amplified and All-In plans, and to take advantage of DoorDash’s same-day 5G Gateway device delivery.

    1. Based on Ookla Speedtest Intelligence® data, 2H 2025. All rights reserved.

    2. with voice and AutoPay. Plus, taxes and fees.

    3. via virtual prepaid card. Allow 14 weeks from rebate submission.

  • ‘Texas Chainsaw Massacre’: ‘Obsession’ Filmmaker Curry Barker in Talks to Write, Direct

    ‘Texas Chainsaw Massacre’: ‘Obsession’ Filmmaker Curry Barker in Talks to Write, Direct

    Curry Barker is gassing up his chainsaw. Though the 25-year-old filmmaker’s much talked-about film Obsession is not yet in theaters, A24 is handing him the feature keys to storied horror property The Texas Chainsaw Massacre.

    Barker is in talks to write and direct his own take on Texas Chainsaw, that will stand separate from an A24 TV series from Glen Powell, Dan Cohen and JT Mollner.

    Barker has been on a rise rarely seen these days in Hollywood. After coming up in the world of YouTube sketch comedy, he shot an $800 horror movie and put it on YouTube for free, where it amassed more than 2 million views and caught Hollywood attention.

    He then became the toast of the Toronto Film Festival last fall, when his under $1 million budgeted movie Obsession became the biggest sale of the fest, going to Focus Features for around $15 million, a sum which makes it won of the biggest indie sales ever in terms of budget to purchase price ratio. The feature, which Barker wrote, directed and edited, is a Monkey’s Paw style tale of a young man who wishes that his friend would love him more than anything in the world, with the results ending in spooky disaster. A24 was among the finalists for Obsession, and the Texas Chainsaw move now puts them in business with the hot filmmaker. The hiring of Barker signals an intention to breath new life into the 50 year old franchise and perhaps speak to a younger audience.

    While Barker has so far gravitated toward original concepts, he has spoken publicly about his love of Texas Chainsaw. Details of his take on the property are not known, but he follows in the footsteps of horror auteur Zach Cregger, who is putting his own spin on Resident Evil over at Sony.

    Obsession opens May 15, and Barker is preparing to embark on a press tour. It’s been a whirlwind, as he just completed principal photography on his sophomore feature, Anything But Ghosts, which he wrote, directed and co-stars in for producers Jason Blum and Roy Lee.

    Lee will produce the new Texas Chainsaw along with his Spooky Pictures partner Steven Schneider. Stuart Manashil and Exurbia Films’ Pat Cassidy, Ian Henkel, and Kim Henkel will also produce. Ben Ross of Image Nation will executive produce.

    Texas Chainsaw is one of the more storied horror franchises in existence, that also happened to have scrappy independent roots. Made for only $150,000 in 1974, the original movie pushed the bounds of the genre and became one of the most profitable movies ever made.

    Numerous films have been made over the decades, some successful, some not, almost always outside the Hollywood system. When A24 landed the rights to the intellectual property, it marked a new chapter as it was now in the hands of a company known for elevated, thoughtful fare that also knows how to appeal to the Gen Z demographic.

    Barker is repped by Underground Management and UTA.

  • ‘Obsession’ Filmmaker Curry Barker to Direct ‘The Texas Chainsaw Massacre’ Reimagining at A24 (EXCLUSIVE)

    ‘Obsession’ Filmmaker Curry Barker to Direct ‘The Texas Chainsaw Massacre’ Reimagining at A24 (EXCLUSIVE)

    Upstart filmmaker Curry Barker continues his mainstream Hollywood takeover with a big new gig: director on A24’s anticipated film reboot of “The Texas Chainsaw Massacre.”

    Variety has learned exclusively that Barker will take the lead on the project, billed by insiders as a “reimagining” of the 1974 horror classic created by Tobe Hooper and Kim Henkel. Barker’s vision for the famed killer Leatherface and the gaggle of young things he terrorizes are under wraps. The film is being developed alongside a “Texas Chainsaw” TV series from Barnstorm’s Glen Powel and Dan Cohen, and director JT Mollner.

    Barker’s rise has been swift, and Focus Features is less than a month out from releasing his acclaimed festival player “Obsession,” about a man whose wish for the love of a female friend turns deadly. That film was acquired in a bidding war that fetched a $14 million sale out of the Toronto International Film Festival. “Chainsaw” takes Barker from an $800 debut feature “Milk & Serial” on YouTube to one of the most prestigious arthouse brands in the industry.

    Curry is currently in production on “Anything But Ghosts” at Blumhouse, serving as director, co-writer and star. The film centers on two fraudulent paranormal investigators who are forced to face real ghosts — and the lies underpinning their business. He’s also part of the internet sketch comedy duo That’s a Bad Idea alongside creative partner Cooper Tomlinson. Barker is repped by Underground Management, United Talent Agency and The Lede Company.

    The new “Chainsaw” film will be produced by Roy Lee and Steven Schneider of Spooky Pictures, and Stuart Manashil and Exurbia Films’ Pat Cassidy, Ian Henkel, and Kim Henkel. Ben Ross of Image Nation serves as executive produce.

    There are 9 films in the “Chainsaw” canon, including 1986’s “The Texas Chainsaw Massacre 2,” which was directed by Hooper and written by L.M. Kit Carson, and 1995’s “The Return of the Texas Chainsaw Massacre” aka “Texas Chainsaw Massacre: The Next Generation,” written and directed by Henkel and starring Renée Zellweger and Matthew McConaughey. A novel, a comic book series and three video games have also been released under the “Texas Chainsaw Massacre” IP.

    A24 won the prize piece of IP in a heated auction last year, formally announcing in February, and fended off competing offers from companies including Blumhouse. Verve repped the rights and was intent on partner with A24’s reach and forward-looking creative, while still preserving the film’s legacy.