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The Hollywood Pop Star Paradox For anyone with even the slightest interest in Hollywood, it is not entirely surprising that Anne Hathaway recently appeared on Popcast, the New York Times critics' podcast that has become a premier destination for music promotion. After all, the actor – whose last appearance in a musical bagged her an Academy Award – is a major part of one of the best recent movies to show pop stardom on screen. The Challenge of Creating Fictional Pop Icons The Idea of You successfully conveyed the idea that Hayes Campbell (Nicholas Galitzine) was the breakout star of a crushable 2010s boyband with a feral fanbase called August Moon. And by "successfully conveyed", I mean the film remixed a string of One Direction-esque iconography – the jaunty rock-lite choruses, fizzy cheerfulness and class clown antics – into actual music videos and convincingly banal bops. The bar is low; many, many films have created bespoke pop stars and/or music for alternate cultural histories, but vanishingly few transcend pastiche. When High Ambition Meets Disappointment I found myself missing the catchy yet entirely forgettable output of August Moon while watching the much more highbrow-aiming Mother Mary, which similarly tries very hard to conjure the magic of a generational pop icon by remixing the recognizable. Diva signatures abound – Mother Mary struts like Taylor Swift, stuns in goddess repose a la Beyoncé and bears the ornate hand tattoos of Ariana Grande. She shares with Lady Gaga an imperial remove, haute styling and maternal forbearance (as well as some biography – Lowery seems more than a little inspired by Gaga's mid-career falling out with Laurieann Gibson, the creative director behind her first two albums.) The Elusive Quality of Authentic Stardom It's certainly not for lack of trying, nor caring. By all accounts, the pop elements of Mother Mary, meant to color a character whose relationship to fandom serves as an overarching metaphor, were made with great reverence for an artform often easily dismissed as, well, easy. On the Popcast, Hathaway waxes poetic about studying pop music like an academic, and Mother Mary certainly appears erudite – speaking nonsense, sure, but well-versed in the precise choreography, deific grace and outsized persona of an archetypical pop star. But the effect is not, as FKA twigs put it in the same interview, "total feeling" despite imperfect approximation. The Real Thing vs. Fictional Creation It helps to bank on the real thing. Though Bradley Cooper's A Star Is Born was ultimately about a fading male rock star, it is Lady Gaga's meta-transformation, from high camp into stripped-down singer-songwriter with glinting ambition, that powered the anthemic Shallow into a crossover hit. The imagination of an alternate, artistically compromised Brat Summer in Charli xcx's satirical mockumentary The Moment was ultimately listless, but the film at least had some of her volatile star power to burn. That prospect of verisimilitude to the real, established thing propels our evergreen fascination with the much more successful genre of musical biopics, from Michael to Rocketman, Bohemian Rhapsody to Springsteen: Deliver Me from Nowhere. When Pop Stardom Works as Backdrop A handful of recent movies have fared better when using pop stardom as a backdrop to the action, rather than thematic engine. The horror films Trap and Smile 2, released in 2024, both staked arena shows for youth-skewing female stars as the focal point for genre conventions, built out with music videos, Drew Barrymore crossover appearances celeb cameos and original music befitting a mid-tier musician. The recessive output of Skye Riley (Naomi Scott) or Lady Raven (Saleka Shyamalan, daughter of director M Night) works, in that it appears as generic to some (say, Josh Hartnett's girl dad / serial killer) as it is indispensable to young fans. The Most Compelling Pop Star Portrayals Each of these carve some vague path through the vast morass of modern celebrity; far fewer have the nerve to actually commit to a corner. Alex Russell's criminally underseen Lurker, released last year, strategically deploys atmospheric, entrancing music, with just enough snippets of video, to pad a portrait of toxic adjacency, in which an obsessive fan wheedles his way into a singer's entourage that got too comfortable laundering trust and envy. But it's Vox Lux, Brady Corbet's 2018 precursor to The Brutalist, that remains the most divisive and compelling pop star movie in recent memory for its pitch-black view of pop music as fundamentally empty, stardom a Faustian bargain. The Future of Pop Stardom on Screen Vox Lux, at least, expressed some irreducible confidence nowhere to be found in Mother Mary's diva-off. For all its posturing, and for Hathaway and Michaela Coel's sincere commitment to chewing scenery, the film is surprisingly weightless – untethered from the real humiliations, the grueling labor, the compromised artistry that makes pop stardom such a potent subject in the first place. Hollywood may continue to try its hand at creating pop stars, but until it understands that the magic cannot simply be manufactured, these portrayals will remain echoes rather than icons.

Quick Take: Stupid Fun Meets a Thin PlotThe new Sky Atlantic series Prisoner delivers high‑octane action and occasional laughs, but its reliance on clichés and a muddled script keeps it from becoming more than a mildly enjoyable ride.Premise and Production Choices Behind “Prisoner”The show follows prison guard Amber (played by Izuka Hoyle) as she returns from maternity leave and is thrust into a high‑risk escort mission. After an ambush, Amber and the dangerous inmate Tibor Stone (portrayed by Tahar Rahim) are handcuffed together, forcing an uneasy partnership as they flee across London.Six‑part action thriller, each episode roughly an hour long.Directed by a team of seasoned UK television producers, aiming for a gritty, cinematic feel.Key cast includes Eddie Marsan as the hard‑bitten detective Alex and Catherine McCormack as his boss Josephine.Ratings, Episode Count, and Audience ReachWhile concrete viewership numbers are still emerging, the series’ distribution strategy is clear:Six episodes released weekly on Sky Atlantic.Available for streaming on Now immediately after broadcast.Targeted at fans of fast‑paced crime dramas and action‑heavy TV movies.Why the Series Struggles to Rise Above TV‑B‑Movie TropesThe review highlights several weaknesses that hinder the show’s impact:Over‑reliance on generic shoot‑outs (“Kapow! Boom! Shooty‑shooty!”) without deeper narrative payoff.Inconsistent character development, especially for the antagonist Harrison Dempsey (played by Brían F O’Byrne).Plot holes, such as implausible weapon‑manufacturing scenes and under‑explored moral dilemmas.Mixed performances, with some actors unable to elevate the thin script.Outlook: Can “Prisoner” Find a Cult Following?Despite its flaws, the series may attract a niche audience that appreciates its kinetic energy and occasional dark humor. If the show can leverage its strong cast and the novelty of the handcuffed‑together premise, it could develop a modest cult following on streaming platforms, even if it never achieves mainstream acclaim.

The Bizarre Premise Behind One Night Only For the most part, the trailer for the upcoming film One Night Only looks like the sweetest possible version of a romcom. A handsome, sensitive-looking man (played by Callum Turner) flirts relentlessly with a big-eyed oddball in a sexy dress (played by Monica Barbaro). They bump into each other, nudge each other, roll their eyes at each other. As a YouTube comment underneath the trailer (that has been liked more than 3,000 times) says: "Romantic comedies are back." A Government-Mandated Night of Passion However, tucked away in this adorable little trailer is a premise that might just be the most confusing in living memory. As Turner's character walks lovelorn through the streets of New York City, his voiceover says: "Finding love is hard enough. Try doing it on the one night of the year single people are legally allowed to have sex." The trailer then hurries along to another procession of meet-cutes and prolonged eye contact. But that doesn't really matter, because you're left thinking: "Wait, the one night of the year where single people are legally allowed to have sex? What the hell?" This, apparently, is the movie. Two cuties meet by chance, and are separated, and have to race across the city to find each other before the sun comes up so that they can enjoy a bout of government-mandated sexual intercourse. It's a tale as old as time. The Practical Implications of a Legal Sex Night Clearly, this raises far more questions than it answers. Is One Night Only basically The Purge, but with all the terror of violence replaced by an increased risk of contracting chlamydia? More importantly, if there really is only one night a year where single people can have sex with impunity, how the hell is this even governed? Judging by the state of the trailer, it seems to mean that everyone just claps eyes on someone and then starts banging them wherever they happen to be, whether that's a restaurant or just in the street like a pair of horny rats. Why is this? Why don't people just go back to their houses and then have sex? Does Sex Night also happen to fall upon a citywide taxi strike? Also, how is this even enforced? Is there a government department that spends its days working out, with precise clarity, the point at which someone stops becoming single, and is therefore allowed to have as much sex as they want on any day of the year? Is it marriage? Is it the first time someone declares their love? If you wanted to be particularly Scandinavian about it, you might argue that sex itself is an act of union, and therefore any moment of penetration instantaneously suspends the notion of singledom. And if that's the case, then surely everyone can just have sex whenever and there's nothing illegal about it. And what about all the unexpected pregnancies this will cause. Should there be a sequel set nine months to the day after One Night Only, full of people mournfully staring into the eyes of all the newborn infants whose sheer existence causes a permanent sense of regret to weigh down their souls? Will this even be addressed in One Night Only? Is anyone going to answer me? Possible Metaphors in Contemporary Society Clearly this has to be a metaphor for something, but clearly the current level of evidence isn't giving much away. Through one lens, you could suppose that it's possible that One Night Only is a clever satire on the US right's crackdown on reproductive rights, and the whole thing is an important and timely statement about the looming threat of a post-Roe worldview that may soon devour the country. But at the same time, maybe this is about Covid? There's something quite pandemicky about the notion that people would have to keep their primal urges at bay in a wholly unnatural way for an extended period of time. Remember how giddily we threw ourselves at each other once restrictions were lifted? Perhaps this is all just an allegory for that. Or both. Or more. Maybe One Night Only is really about capitalism, or ChatGPT or the climate crisis. Maybe it's none of them. Maybe it's just the manifestation of a screenwriter who wished that, just once a year, people would be slightly more inclined to have sex with them. It's honestly hard to say. The Future of "The Purge, but X" Movies Nevertheless, if One Night Only is successful, then it's bound to start an avalanche of "The Purge, but X" movies. What if there was only one night a year when you could have surgery? What if there was only one night a year where you could get a haircut? What if there was only one night a year where you could eat spaghetti with your bare hands? Because, if we're already doing sex, then clearly there are no limits to the Purgiverse's silliness. One Night Only is out in Australian cinemas on 6 August, US cinemas on 7 August and in the UK on 28 August

The Enduring Appeal of Highlander The sheer barking madness of this fantasy time-travel adventure from co-writer Gregory Widen and director Russell Mulcahy, now on re-release for its 40th anniversary, can best be described as Terry Gilliam meets James Cameron. The chiselled features of its Franco-American star Christopher Lambert – a kind of VHS Marlon Brando – are a minor source of diversion on their own and his Scottish accent has to be heard to be disbelieved. And Celia Imrie’s small role as the sexy but duplicitous 16th-century Scottish villager seals the deal on Highlander’s cult status. A Wacky Story of Immortals Forty years on, this depends more than ever on appreciating its trace of deadpan black comedy. Highlander’s wacky story concerns Connor MacLeod, smoulderingly played by Lambert, a fiery young warrior in the Scottish Highlands in the 1530s, who appears to have been killed during a war with the opposing Fraser clan. But he comes back to life, leading the excitable community to think he’s possessed by the devil. Driven out of the village, his only ally is his great love Heather (Beatie Edney), but the couple are astonished to encounter what appears to be an effetely dressed Spanish nobleman, played by Sean Connery, who incidentally displays in this film some very useful horsemanship. A Legacy of Action and Adventure But Connor has no choice but to accept his destiny, living on through the centuries. He fights a duel in 18th-century Europe, and during the second world war saves a child from the Nazis, who grows up to be Rachel (Sheila Gish), his secretary in an antiques business he runs in present-day New York under the name of Russell Nash. Every 40 or 50 years, he has to keep changing his identity using misappropriated death and birth certificates, meaning that Highlander can be added to the long list of movies and books who have borrowed Frederick Forsyth’s fake ID scam from The Day of the Jackal. A Cult Classic Reborn But NYPD officer Brenda (Roxanne Hart) has figured out that something is off about Mr Nash, who is preparing for a grand showdown with an evil immortal called the Kurgan, played by Clancy Brown; like Connor he is a great swordsman, and immortals can only be killed by being beheaded. The film’s galloping silliness never lets up, though it is perhaps an acquired taste: those who can’t indulge it may find themselves reminded of Quentin Tarantino’s belief that the 1980s were one of cinema’s worst decades. But those who can indulge it will find it uniquely quirky, funny and eccentrically ambitious. Release and Re-release Highlander is in UK cinemas from 4 May and on UHD and Blu-ray from 29 June.

The Rise of the Sanitized BiopicIn recent years, Hollywood has increasingly turned to biographical films as a reliable business strategy. Despite often being critically panned for their formulaic approaches and sanitized portrayals of real-life figures, these movies continue to draw audiences and generate substantial profits for studios.The Formula Behind the SuccessSanitized biopics follow a predictable pattern: they take a well-known historical or contemporary figure, simplify their complex life story into a conventional narrative arc, and cast bankable stars to ensure box office appeal. This formula minimizes risk while maximizing the potential for commercial success.Financial Impact on HollywoodThe business model of sanitized biopics has proven remarkably lucrative for major studios. These films typically benefit from pre-existing audience awareness of their subjects, reducing marketing costs while guaranteeing a certain level of audience interest. Additionally, the international appeal of biographical stories further enhances their profitability.Cultural Shift in Film ProductionThe prevalence of sanitized biopics reflects a broader trend in Hollywood toward risk-averse filmmaking. As production costs continue to rise, studios increasingly favor projects with built-in recognition and predictable returns. This shift has led to a decrease in original storytelling and an increase in formulaic biographical narratives.The Future of Biopics in HollywoodAs audiences become more discerning and critical of sanitized portrayals, the biopic genre may evolve to incorporate more nuanced storytelling and authentic representations. However, the financial incentives behind the current formula are likely to ensure that sanitized biopics remain a staple of Hollywood output for the foreseeable future.

The Birth of an Anthem in a Time of ChangeThe Levellers' iconic track "What a Beautiful Day" was born out of a specific historical moment. Written in late 1996 by frontman Mark Chadwick, the song emerged during a period of palpable political optimism, just before the end of the Tory government and the rise of Tony Blair. Chadwick describes the era as a time when the cold war had ended and Apartheid was collapsing, creating a sense that the world was moving toward improvement.Despite its cheerful title, the song is rooted in subversive themes. Chadwick wrote it in just five minutes, intending it to be a double-layered composition—one surface layer about a "lovely day," and a deeper layer about revolution and bringing down the government. The lyrics were heavily influenced by Bonfire Night traditions in Lewes and Chadwick's love for old movies and a trip to Cuba, which introduced the Che Guevara reference. From Five-Minute Inspiration to Live EnergyThe recording process was designed to capture the raw energy of the band. Chadwick initially doubted the song, feeling it was "too easy" and "too obvious," but a colleague in the office immediately recognized its hit potential. The band decided to record it live in the studio to maintain the "one noise together" dynamic, resulting in a performance that is even faster live today. Writing Speed: Lyrics and music composed in approximately five minutes. Recording Style: Live in the room to capture band chemistry. Instrumentation: Features a 70s stomp-style beat and a walking bassline. Chart Trajectory and the Radio BanThe release of the song was initially well-timed, coinciding with the departure of the Tories. It climbed the charts, reaching No. 13, when a tragic event halted its momentum. Following the death of Princess Diana in August 1997, radio stations across the UK pulled "What a Beautiful Day" and other upbeat tracks, deeming them inappropriate for the national mood. This sudden removal from rotation illustrates the volatile nature of the music industry during times of national crisis. The song, which Chadwick jokingly wanted to title "The King of All Time," became a casualty of grief, though it remains a staple of the band's live set. Subversive Lyrics vs. National MourningThe irony of the song's reception highlights a shift in cultural interpretation. Originally written as a reaction against "horrible things" and a call to arms, the song was recontextualized by the public as a life-affirming anthem. Jeremy Cunningham, the band's bassist, noted that while many Levellers songs are angry reactions, this one was "full of positivity." The band members reflect on how their youthful "stoned paranoia" about the government has proven true in modern times, yet they maintain that the song's core message remains relevant. They argue that the true revolution today is simply "being a bit nicer to each other." Legacy and the Evolution of the RevolutionDespite the initial radio ban, "What a Beautiful Day" has endured as a defining track for the Levellers. The band has even named their annual festival after the song, a testament to its lasting impact. Looking forward, the band continues to celebrate 35 years of their career, proving that a song written in a moment of political hope can resonate even when the world feels dark.

The nostalgia industry has become a powerful force in entertainment, with many reboots and remakes of classic TV shows and movies being produced. One recent example is the revival of the US sitcom 'Malcolm in the Middle', which originally aired from 2000 to 2006. The new four-part miniseries, titled 'Malcolm in the Middle: Life's Still Unfair', was released on Disney+ and has sparked debate about the role of nostalgia in modern entertainment. The original 'Malcolm in the Middle' was known for its subversive worldview, tackling topics such as financial struggles, unionizing, and the costs of healthcare. However, the reboot lacks the social commentary and edginess that made the original so impactful. Instead, it focuses on rekindling the warm, familiar glow of the original for an ageing viewership. This trend is not unique to 'Malcolm in the Middle'. Many other TV staples from the 1990s and 2000s have been revived or remade, including 'Scrubs', 'Bel Air', and 'Frasier'. These reboots often nudge to the present with a few easy observations, such as young characters being woke or anxious, while keeping their focus on nostalgia. The article argues that this nostalgia-driven approach is driven by corporate power and the desire for profit. The 2019 merger of Disney and Fox, which originally aired 'Malcolm in the Middle', created a quasi-monopoly that identifies key demographics and streams content at them until their eyes glaze over. Ultimately, the article suggests that this approach is misguided and lacking in originality, and that it would be better for the entertainment industry to focus on creating new and innovative content rather than relying on nostalgia.

The cyberpunk genre is renowned for its arresting imagery, with petroleum flares illuminating the perpetually rainy landscapes of movies like Blade Runner. Replaced, a new 2D action-platformer from Belarus-based Sad Cat Studios, adopts a similar visual style but with a unique twist: it incorporates softly diffusing sepia and warm primary colours, creating a comforting rather than ominous atmosphere.The game's story follows Warren, a scientist who merges with a powerful AI, becoming a man-machine entity. The gameplay involves platforming and combat, but the article notes that Replaced relies heavily on familiar action-platformer tropes in its early stages. However, as the game progresses, it introduces a refugee encampment with a more relaxed pace, allowing players to explore and interact with the environment.Despite its beautiful visuals, Replaced's generic irradiated wilds often detract from the experience. The game's most memorable section involves sneaking back into a heavily guarded facility, where the atmosphere and tension are palpable. This section stands out for its powerful evocation of real-world issues, such as the Mexico-US border wall and the West Bank barrier.Replaced is now available for £16.99/$19.99, offering a unique blend of cyberpunk nostalgia and action-platforming gameplay, albeit with some familiar flaws.

Netflix co-founder Reed Hastings is leaving the streaming service he co-founded 29 years ago, as the company regains its footing after losing a $72 billion deal for Warner Bros Discovery to Paramount Skydance.In a letter to investors released on Thursday, Netflix said Hastings will not stand for re-election at its annual meeting in June and plans to focus on philanthropy and other pursuits.The company's stock plunged about 8 percent on the news of Hastings's departure. The co-founder is credited with helping to revolutionize how movies and television shows are delivered in homes, upending Hollywood's business model.“Netflix is growing revenues double-digits, expanding margins in 2026 and gushing free cash flow,” said LightShed Partners media analyst Richard Greenfield. “While the Q1 was uneventful financially, the departure of Reed Hastings has spooked investors.”Netflix reaffirmed in a 14-page shareholder letter that its mission remains “ambitious and unchanged” – to entertain the world, providing movies and series for many tastes, cultures and languages. The company’s full-year outlook remained unchanged.The company did not say how it plans to spend the $2.8 billion termination fee it received after losing the Warner Bros movie studio and HBO, and lifted its earnings per share to $1.23 in the first quarter compared with 66 cents per share in the same quarter last year.Revenue rose to $12.25 billion, an increase of 16 percent from the year-ago period, modestly exceeding analyst forecasts of $12.18 billion.Netflix, which long told investors that a Warner Bros acquisition was a “nice to have, not need to have” proposition, highlighted areas of future growth.The company said its investment in expanding its entertainment offerings, with video podcasts and live entertainment – such as the World Baseball Classic in Japan – is driving engagement.It plans to use technology to improve the user experience and improve monetization, as advertising revenue remains on track to reach $3 billion in 2026 – a twofold increase from a year ago.