In a stunning shift for the entertainment industry, the Grammy awards have signed a deal with the Walt Disney company to move the awards to Disney-owned cable and streaming services. This includes the ABC network as well as the streaming services Disney+ and Hulu.
“As The Walt Disney Company combines forces with The Recording Academy to open this exciting new chapter in the history of the Grammys, we do so with pride and gratitude,” said Dana Walden, Co-Chairman of Disney Entertainment. “Live events have never been more important to our culture and industry, and we just acquired one of the crown jewels, adding to our portfolio of world-class programming across all genres.”
The deal comes as a major upset as CBS, the current host of the Grammys, has hosted them for over 50 years. The network took the rights from ABC in 1973. The awards show had also been on NBC prior to this, but its tenure on these networks was significantly shorter.
In 2016, CBS signed a deal with the Recording Academy of the United States to continue hosting the Grammys for the next 10 years. However, the two organizations were unable to come to a new agreement during their exclusive negotiation window about the awards, allowing Disney to capitalize on the opportunity. This means that the awards will continue to be on CBS in 2025 and 2026, before officially moving to Disney-owned services in 2027. The Recording Academy’s deal with Disney is also reportedly 10 years long, meaning the Grammys will be up for grabs again around 2036.
This comes after CBS took the American Music Awards from ABC this spring, the two networks essentially swapping music award shows.
The Grammys are the most recent in a series of major television events that are now being hosted on Disney-owned networks. ABC is also the host of the Academy Awards, or Oscars, the Country Music Awards, and Dick Clark’s New Year’s Rockin’ Eve. In sports, ESPN will air the Super Bowl alongside ABC in 2027.
The details of the deal are currently unclear, though Variety reports that Disney is likely paying roughly $500 million over the 10-year contract, about the same as CBS during their 2016 contract.
This year the Grammys had a viewership of 16.9 million, a 34% rise from last year. This is the highest viewership that the Grammys have had since their 2020 show, with viewership beginning to climb back to pre-pandemic levels. Other awards shows have also seen improvement with the Oscars reporting a four-year high in viewership this year and the Emmys viewership jumping 54% from 2023.
Exactly how this deal will play out and whether or not it was a worthwhile pickup for Disney is yet to be determined. What is certain, however, is that this move was a major shakeup in the world of entertainment awards.
Spirits, spooks, shrieks and screams, the Halloween season is upon us. But not one type of scare is perfect for everyone. Here is a list of some classic horror movies, along with a rating of how scary they are and what type of scary they are, so you can pick the right fright for you.
A quick note on the rating system used: a score of 0 would indicate the movie is not scary at all, while a score of 10 would indicate it was too scary for me to finish. Some of the movies on the list are rated lower than others, but all these films are at least somewhat scary.
Jack O’ Latern via WikiCommons
Nosferatu (1922)
“Nosferatu” has a checkered history. Based on the classic gothic novel Dracula, the filmmakers were unable to get the rights to the property and just changed the names of characters. Bram Stoker’s wife sued the filmmakers over copyright infringement, and a judge ordered all copies be destroyed. Unfortunately for them and fortunately for future viewers, too many copies were in circulation already to eliminate. As for the scares?
“Nosferatu” is about as scary as a silent film from that era can be. That is, often campy and with somewhat clunky dialogue, but also with some genuinely creepy scenes and a growing feeling of dread throughout the film. I was initially bothered by the score, which has to do a great deal of heavy lifting for a film with no other sound, but it developed into a very dramatic and foreboding piece.
As is typical of silent films, the actors have some very exaggerated expressions and reactions that can feel goofy and detract from the frightening nature of the film. The vampire, Count Orlok, has a similar issue, sometimes looking more confused than creepy. The dated style of production takes its toll, but “Nosferatu” remains an enjoyably chilling film. If you are interested in classic vampires or are looking for a film as campy as it is creepy, “Nosferatu” would be a great pick.
Scare rating: 3.5/10
Scare Type: Campy vampire dread
Invasion of the Body Snatchers (1958)
This film is a very unique one to rate because of the specific nature of its horror. “Invasion of the Body Snatchers,” released in 1956 (not to be confused with the 1978 remake with the same name, which I have not watched, so don’t expect this guide to be helpful for it) stands out as an early classic in sci-fi horror. As for the scares?
The primary fear from this movie arises from the premise: anyone can be replaced in their sleep without anyone else knowing. There are no jump scares or gore in the movie at all, which works to its benefit. There are not supposed to be any obvious signs of what’s going on. The fear comes from the main characters being unable to trust anyone, and moreover attempting to escape when everything and everyone is against them.
However, the way some things are depicted in the film does do some harm to the scare factor, for me at least. The body snatchers are sinister, but not especially smart. I am not a big fan of romance which is fairly central to the plot, and there are a few times where characters will say things in a quintessentially goofy 50s way. And the framing narrative placed around the story negatively impacts the film. The reason I have the scare rating so low is because I think the depiction of the premise was less scary than it could have been, but if this is something that really scares you, it might not reflect accurately. Regardless, “Invasion of the Body Snatchers” is a solid sci-fi horror movie and a good Halloween pick.
Scare rating: 3/10
Scare type: Campy alien replacement
Psycho (1960)
As a fun fact, “Psycho” was the first American film to show a toilet on screen. The sight of it shocked viewers almost as much as some of the murders in the film. As for the scares?
“Psycho” is as much of a mystery film as it is a horror film. The film is full of twists and surprises that keep the tension and suspense very high. The audience does not get the whole story until the very end of the film, yet always know just enough to be worried for all of the characters. This is not to say the film is not scary. The violence may be tame by today’s standards, but it is very effective and compelling when it is used. Paired with an excellent performance by Anthony Perkins as Norman Bates, “Psycho” is a rather scary film.
There are some aspects that cause harm to the movie’s scare factor, such as an in-depth explanation that one character gives at the end of the film that ruins some of the mystique. However, “Psycho” is exactly as scary as it wants to be. If you enjoy some mystery in your horror, and you don’t mind being a bit more scared, “Psycho” is a great pick.
Scare rating: 5/10
Scare type: Suspenseful mystery
Night of the Living Dead (1968)
This is the final black and white film on the list. “Night of the Living Dead,” directed by George Romero, is widely considered the origin of the modern zombie movie. But as for the scares?
As good of a movie as this is, and it is a very good movie, it is not the most frightening. The zombies themselves are not that creepy (very limited makeup, many are just people making weird faces and stumbling), though they are slightly more intelligent than in many similar films. The gore is light by modern standards, and in some spots even feels campy.
What this film thrives on is the sense of tension that builds throughout its duration. The characters feel human, their mistakes believable but no less damning. Every scene builds the tension up to an intense climax and a gut punch ending. If you are interested in zombies or want a horror film to put on for Halloween that is a good watch without keeping you up at night, this is a great pick.
Scare rating: 3.5/10
Scare type: Tense zombie thriller
Halloween (1978)
This film is very timely, being the only movie on the list that actually takes place on Halloween. “Halloween” was the first true slasher film, being the movie that set the tropes for following films in the genre. As for the scares?
“Halloween” is surprisingly light on blood and gore for a film genre known for over-the-top special effects. This in no way detracts from how scary the film is. Michael Myers is a fantastically creepy villain. The whole film does a great job building the tension and dread surrounding the way he stalks the protagonist and her friends. He is in the background watching for so much of the movie that by the end you’re looking for him in every bit of empty space in a scene, which adds a wonderful bit of tension.
The score is also a standout contributor to the horror of the film. Some films suffer from having overbearing music, but the “Halloween” theme is simple yet eerie, lending a great atmosphere to the picture. “Halloween” is a scary film. If you enjoy slasher films or want to watch a horror movie with a bit more bite, this is a great pick.
Scare rating: 7/10
Scare type: Ominous atmospheric slasher
The Thing (1982)
John Carpenter’s “The Thing” was critically panned when it was first released, partially for being a bleak remake of a popular film “Thing from Another World” (1951). Now it is regarded as a horror classic in its own right. As for the scares?
“The Thing” is a terrifying movie. It has its fair share of gore and body horror that are made even more effective through the use of remarkably good practical effects. But the core of the fear this movie creates is paranoia. It goes out of its way to make sure that you cannot trust a single member of the cast. Anyone could be anything. The characters can’t trust each other, and the tension and dread rise with every new obstacle they face. The setting of an isolated Antarctic station at the start of winter is incredible for making every mistake even more harrowing.
The one flaw with this movie is that it spends relatively little time on character development. The characters are still likable, but several are not especially distinguishable from each other. In some ways this only adds to how scary it is, because you do not know any of them well enough to know when they are acting wrong. If you are looking to watch a scary movie, one that very well might give you some nightmares, this is a great pick.
Scare rating: 8.5/10
Scare Type: Paranoid body horror
There are horror movies out there to fit every taste and terror. This is just a list of some classics that you might consider watching for the Halloween season. I hope you take this into account while picking your next scary movie. Happy hauntings!
When people think of Halloween animation, the first thing that comes to mind is probably the 1966 Peanuts TV special “It’s the Great Pumpkin, Charlie Brown.” However, today I would like to introduce you to a short that’s gained a cult following in recent years titled “Swing You Sinners!”
Released in 1930 by Paramount Pictures, “Swing You Sinners!”was produced by Fleischer Studios, a studio run by two brothers, Max and Dave, that made cartoons in the 1930s for Paramount and introduced iconic characters, like Betty Boop and Popeye the Sailor. “Swing You Sinners!” was produced as an entry in the “Talkartoons”series, which was a series of animated shorts that ran from 1929 to 1932.
The short stars Bimbo the Dog, who was the studio’s flagship character until Betty Boop’s creation and who eventually became Betty Boop’s lover. Unlike the light-hearted Disney cartoons of the day, Fleischer cartoons were darker and grittier and focused on adult themes. In the case of “Swing You Sinners!,” the theme is racial injustice.
The cartoon’s title has double meaning because not only does swing refer to dancing, but it also refers to hanging from a noose. Many modern viewers have interpreted the cartoon as a metaphor for the racially motivated lynchings of the time, due to Bimbo being a dark colored character tormented and threated with hanging by white ghosts for a petty crime of chicken theft.
In an episode about the cartoon from a former podcast called “Cartoon Logic,” hosts Thad Komorowski and Bob Jacques talk a little about the cartoon’s racial element before doing a scene-by-scene analysis. In it, Komorowski refers to Bimbo as “the ultimate morphing character” because early on Bimbo didn’t have a consistent design and his look varied from each short.
It wasn’t until the production and release of the short “The Herring Murder Case” (1931) that the studio finally settled on a standard design for Bimbo: a short, round, black dog with shoes, a sweater and gloves. Many of the early Bimbo shorts often reflected the poverty and harsh experience of gaining and losing jobs during the Great Depression because in each short, Bimbo is seen working a different job. Some of these jobs seen in the shorts include construction, lumberjacking and mail carrying.
In “Swing You Sinners!,” Bimbo is cast as a poor black man, who attempts to steal a chicken out of hunger and desperation only to get caught by a policeman, whom he escapes only to end up in a cemetery where he’s reprimanded and threatened with death by ghosts and demons for his crime.
During the cartoon’s climax, there are references to lynching. “Cartoon Logic” host Bob Jacques notes the lyrics, “For making chicken elope, you’re at the end of your rope. So, just give up all hope! Swing, you sinners! We’ll stretch you like a giraffe, maybe cut you in half. Just to give us a laugh! Swing, you sinners!”
Interestingly, in his debut short “Hot Dog” (1930), Bimbo, who’s cast as a womanizing white man, gets away with his crime of harassing women by entertaining the judge and jury with a banjo rendition of W.C. Handy’s “The Saint Louis Blues”. The shorts “Swing You Sinners!” and “Hot Dog” are two good animated companion films in understanding how race was a determining factor in the outcome of crimes in America.
Despite the cartoon’s dark theme, the animation and music are still worthy of praise. Upon initial viewing, one might not think that most of the animation was done by rookie animators. However, that is the case. In 1930, many of the Fleischer’s top animators left for opportunities in Hollywood; and out of desperation, the Fleischers promoted many assistant animators to full animators as well as hired experienced animator, Grim Natwick, to train the new crew.
The results are quite impressive. Natwick, in particular, was responsible for designing and animating the hordes of scary ghosts and monsters that chase Bimbo into hell during the cartoon’s climax. Each monster design is strange and unique in its own bizarre way. The short’s dark, gray tone backgrounds also give it an eerie, spooky vibe.
Regarding the music, the cartoon’s title is a pun on a song, “Sing, You Sinners,” by W. Franke Harling and with lyrics by Sam Coslow, which first appeared in a 1930 Paramount film, “Honey.”The song is heard over the cartoon’s opening titles and climax. Several famous jazz musicians, including Bob Effros (trumpet) and Tommy Dorsey (trombone) can also be heard playing on the soundtrack.
In recent years, the cartoon has gained a cult following. Many of the cartoon’s visuals as well as other 1930s cartoons inspired the look of the popular video gameCuphead. Additionally, in March 2024, a new 4K restoration of the cartoon was shown at a Fleischer Studios retrospective hosted by the Museum of Modern Art in New York City.So if you’re looking for a spooky film for your Halloween watchlist this year, consider “Swing You Sinners!” Additionally, if you’re interested in seeing and learning more about the history of the cartoon, feel free to join the Classic Cartoons Club on Halloween for a screening of spooky, Halloween-themed cartoons in Holroyd Hall Room 190 from 12:30 p.m. to 1:45 p.m.
There has been a whirlwind of information and accusations since Sean Combs, also known as P. Diddy, was arrested. To help you keep up, here is an overview of the charges and events that have progressed over the last month, regarding Diddy.
Sean Combs via WikiCommons
Combs was arrested in Manhattan on Sept. 16. He had already been facing several sexual assault and misconduct cases from various sources, such as his ex-girlfriend Cassie Ventura, as well as Dawn Richard, a former member of the group “Danity Kane” which Combs had assembled on the MTV show “Making the Band.”
Comb’s Miami and Los Angeles homes had also been raided by federal agents in March.
The indictment filed against Combs the day after his arrest by the United District Court Southern District of New York was unsealed, showing that he was charged on three counts: racketeering conspiracy, sex trafficking and transportation to engage in prostitution. Racketeering conspiracy is planning and carrying out an illegal scheme in a way that is often associated with organized crime. This count carries a maximum sentence of life in prison.
Sex trafficking is the recruitment, harboring or movement of a person for the purposes of engaging in a commercial sex act (e.g. prostitution) through force, blackmail or coercion. This count carries a maximum sentence of life in prison and a minimum sentence of 15 years in prison.
Transportation for purposes of prostitution carries a maximum sentence of 10 years in prison.
The indictment also included several details about the raids carried out in March that many people found especially strange. For example, a combined total of over one thousand bottles of baby oil were found in Comb’s residences, reportedly to be used in multiple day-long “Freak Offs.” These “Freak Offs” often involved multiple commercial sex workers and Combs distributed controlled substances to attendees to keep them compliant, according to the indictment.
Combs also allegedly filmed some of these events in secret, keeping the tapes and using them as possible blackmail against his victims.
Combs filed for bail twice in the two days following his arrest. The second bail offer included $50 million dollars as well as GPS monitoring and strict limits on visitors. Both bail offers were denied.
U.S. District Judge Andrew L. Carter, who denied his second offer, ruled that it was “insufficient” to ensure the safety of the community and the integrity of his case. Carter also stated that there were no conditions that would be able to prevent Combs from intimidating or harming witnesses, which was an important part of the charges brought against him.
During a press conference on Oct. 1, Houston-based attorney Tony Buzbee announced that he was representing 120 individuals to pursue civil cases ranging from sexual assault to battery against Combs. The incidents referred to in the cases go as far back as 1991 and vary in severity, including one case where the victim was 9-years-old in their alleged encounter with Combs.
Buzbee has also said other celebrities can be named as co-defendants in some of these cases.
Combs has pleaded not guilty, and he and his lawyers maintain his innocence against the charges. According to his attorney, Marc Agnifilo, Combs has no intention of taking a plea deal and intends to fight the charges in court.
Currently, Combs is being held in the Brooklyn Detention Center. At this time, a trial date has not been set.
The leaves are changing, the air is getting colder, but Hollywood hasn’t slowed down. Here’s a quick look at some of the biggest titles being released in theaters before the end of the year.
SUPERHEROS:
Joker – Folie a Deux – Juaquin Phoenix reprises his Oscar-winning role in this sequel to the 2019 blockbuster Joker. He is joined by Lady Gaga in the role of Harley Quinn. The film is said to have some musical elements as well. The film is set to be released Oct. 4.
Venom: The Last Dance –The final film in Sony’s Venom franchise will be Tom Hardy’s final time playing Eddie Brock/Venom, a Spider-Man anti-hero. Rumors are flying about the actor who will play the movie’s villain, Knull, but nothing has been confirmed. The film is set to be released Oct. 25.
Kraven the Hunter – Another film featuring a classic Spider-Man Villain by Sony, Kraven stars Aaron Taylor-Johnson as its titular character alongside Russell Crowe. The film is going to be Sony’s first R-rated Marvel movie, earning its rating through “strong bloody violence and language.” The film is set to be released Dec. 13.
KIDS AND FAMILY:
The Wild Robot – This animated film by Universal Studios is based on a picture book with the same name and features stars such as Lupita Nyong’o as the robot Roz, of whom gets stranded on a remote island. Nyong’o is joined by other big names such as Pedro Pascal, Bill Nighy, Mark Hamill, and more. The film is set to be released Sep. 27.
Sonic the Hedgehog 3 – The third installment in Paramount Pictures follows Sonic (voiced by Ben Schwartz) as he fights against a mysterious new foe, Shadow the Hedgehog (voiced by Keanu Reeves). The previous film in the franchise, Sonic the Hedgehog 2, holds the third highest box office opening for a video game adaptation, making 72 million dollars during opening weekend. The film is set to be released Dec. 20.
Mufasa: The Lion King – This photorealistic animated Disney film is both a prequel and sequel to the 2019 remake of the 1994 animated classic “The Lion King.” The film stars Aaron Pierre as Mufasa, Kelvin Harrison Jr. as Taka, with Donald Glover returning to voice Simba. The film is set to be released Dec. 20.
Moana 2 – The sequel to the 2016 Disney film follows Moana as she ventures to distant seas after receiving a call from her ancestors. Auli’i Cravalho returns as the voice of Moana, and Dwayne “the Rock” Johnson returns as the voice of Maui. This film is set to be released Nov. 27.
OTHER NOTABLE TITLES:
Megalopolis – This film by Francis Ford Coppola, director of the Godfather trilogy, follows a political battle in the Sci-fi city of New Rome between artist Caesar Catilinia, played by Adam Driver, and Mayor Franklyn Cicero, played by Giancarlo Esposito. The film is set to be released Sep. 27.
Wicked – The movie adaptation of the popular Broadway musical follows a young Elphaba, played by Cynthia Erivo, through her life in Oz before she became the Wicked Witch of the West. She is joined by Ariana Grande, who is playing Glinda the Good Witch. The film is set to be released Nov. 22.
Gladiator 2 – This sequel to the 2000 Oscar best picture winner “Gladiator” follows Lucius, played by Paul Mescal, a young man forced to enter the Colosseum after his home is brutally conquered. Mescal is joined by Pedro Pascal, Denzel Washington, and more in this film directed by Ridley Scott. The film is set to be released on Nov. 22.
This is, of course, nowhere near a comprehensive list. It is just a run-down of some of the biggest titles yet to be released this year. If one of these interests you, or even if none of them do, consider taking a trip to your local movie theater. Chances are, you will find something great to watch.
With stars such as Mike Faist, Josh O’Connor and, of course, international heartthrob Zendaya, Luca Guadagnino’s “Challengers” is one of this year’s first actual must-see movies.
Tashi Duncan (Zendaya), a tennis player-turned-coach, in an attempt to help her husband regain his confidence to finish his tennis grand-slam, has signed Art (Mike Faist) up for a tennis challenger competition, a low-level tennis tournament – something easy to prove he can get out of his own head. Tensions quickly rise when Art finds himself up against tennis burn-out Patrick (Josh O’Connor), his former best friend and Tashi’s former boyfriend.
Written by Justin Kuritzkes and directed by Luca Guadagnino, the script and screen adaptation of such was unparalleled. Their dynamic partnership makes me look forward to further collaboration between Kuritzkes and Guadagnino in their upcoming film “Queer.”
Best known for his film “Call Me By Your Name,” Luca Guadagnino’s directorial touch was reminiscent of his previous 2017 creation. From cinematography to even something as simple as pacing, Guadagnino’s hand is widely felt throughout “Challengers.”
Although I initially questioned the use of 80s synth-pop music as the score, I should not have been so quick to doubt the genius that are the minds of Trent Reznor and Atticus Ross. The up-tempo, heartbeat-like music not only keeps you excited, it also keeps you on your toes. Heightening the buzz of the script, Reznor and Ross’ score is phenomenal, so don’t let the first two songs steer you wrong.
Mike Faist, with a background in over-the-top Broadway theater, surprised me with his ability to play such a modest character. Art juxtaposes Patrick, and as the movie progresses, we start to pity Art (through no fault of his own). Faist’s portrayal of such a transparent character was honestly a breath of fresh air, although that doesn’t mean that there are moments of selfishness that overcome him.
Throughout the film, Zendaya not only radiates beauty, her performance is impeccable. The role of Tashi Duncan adds yet another far-from-Disney role to Zendaya’s resume, and I am so thankful that it did. In her other more serious roles, such as Rue Bennett (“Euphoria”) and Marie Jones (“Malcolm & Marie”), Zendaya’s characters are often likable because of the difficult situations they find themselves to be in. In “Challengers,” however, Tashi is anything but. As the movie progresses, the actions and motivations of Tashi continue to make audiences not want to be supportive of her – and this is beautifully done by a collaboration between writer, director and actress.
During the Global Press Conference of “Challengers,” Zendaya herself described Tashi as “refreshing” because she doesn’t need you to like her. Tashi is a complicated character, and while Zendaya asks you not to judge Tashi based on her decisions, she also doesn’t care if you support said decisions, much like Tashi.
Although I doubt it will be debated, “Challengers” is one of the best films released so far this year. From the performances by Zendaya, Mike Faist and Josh O’Connor to minute details of mise-en-scene, Luca Guadagnino’s newest film deserves every ounce of praise it will get. If you haven’t already bought your tickets to see it in theaters, you must do so right now.
Charlotte, a twelve-year girl, lives in an apartment complex with her little brother, mother and her step-father. She has quite the hobby of exploring and sketching out comics with her father. She meets a spider in her grandmother’s apartment and brings it to her room to take care of it. The spider is kept inside of a jar where Charlotte observes the spider as it consumes insects. She notices that the spider grows at an alarming rate and is fascinated by its progress. The story takes a mysterious turn when the residents in the surrounding halls disappear one by one. Charlotte is left by herself where she designs an attack plan and mechanism to defend her residence and save her family.
PERSONAL OPINIONS
I was really pleased by the pacing of the movie and the background music. It was a smooth watch with humorous moments, jump scares, and plot twists. The attention to detail was incredible! Allowing the other neighbors to have their own moments in the movie allowed for the audience to connect with them before their disappearances. It was a nice addition to the pacing of the movie. The kills were absolutely epic! They were pretty neat to witness in the theater. A minor comment I have about the film was the backstory of why a bullet with the spiders were aimed at this particular resident building. I hoped for coverage on the lore behind the spider, but with the way the film ended, perhaps a second movie might explore the spider’s origin.
Argentinian DJ Bizzarap brought out none other than Shakira about halfway through his set. She then announced that she would be going on tour later this year.
Peso Pluma brought out Becky G during his performance on the main stage.
Lana Del Rey brought out Billie Eilish, Jon Batiste, and Jack Antonoff during her performance; Billie Eilish was quoted to say “This is the reason for half of you bitches’ existence… including mine.”
Day One Lows
Hatsune Miku, the Japanese AI-backed program, was supposed to have a three dimensional hologram performance that ended up being reduced to two dimensions due to an issue with the computer code.
The Japanese House had technical difficulties, erasing 15 minutes from the 40 minute Coachella-debut set.
Lana Del Rey’s mic kept cutting in and out throughout her set, even forcing her to stop mid-set for a sound check and asking the audience to pick up her slack.
Day Two Highs
No Doubt surprised fans with their reunion after nine years and then brought out Olivia Rodrigo for a back-and-forth rendition of “Bathwater.”
Tyler, the Creator brought out Childish Gambino for “Running Out of Time,” A$AP Rocky for “Potato Salad” and “Who Dat Boy,” Charlie Wilson for “Earfquake,” and Kali Uchis for “See You Again.” Rihanna was seen in the crowd.
Paris Hilton hopped on stage for a quick game of cornhole during Vampire Weekend’s set.
Son of the late Sublime foreman Jakob Nowell made his official debut as the band’s new singer. They were joined by Bud Gough and Eric Wilson.
Taylor Swift and Travis Kelce were seen in the crowd during Ice Spice’s set.
Day Two Lows
Audiences were slammed for being “embarrassing,” not knowing the words to one of Blurs’ most well-known songs, even having their frontman basically begging them to sing along. The band went on record to say that they would never return to Coachella again.
Tyler, the Creator addressed Jarrod Carmichael admitting he had feelings for Tyler, the Creator, making an already awkward situation more tense.
Day Three Highs
J Balvin put on an intergalactic-themed show with special guest Will Smith, who rapped the iconic theme of Men in Black.
Doja Cat headlined, kicking off her performance in a hazmat suit and bringing out A$AP Rocky and 21 Savage during her set.
TEMS brought out Justin Beiber and Wizkid to perform “Essence.”
During her set, Renee Rapp sang a cover of “TikTok,” surprising the audience with Ke$ha herself.
Katy Perry made a cameo during Mia Moretti’s debut DJ set, shooting Moretti-branded dollar bills into the crowd.
Day Three Lows
Grimes had a major technical error during her set, and screamed and cursed into the mic out of frustration.
Nelly Furtado fell while performing “Eat Your Man,” injuring her finger but still not missing a verse.
With celebrities like Oprah Winfrey, Elon Musk and Amy Schumer admitting to using Ozempic for weight loss, the injectable medication has quickly become a household name – but at what cost? Should our youngest, most vulnerable population be subject to this drug’s latest craze?
In a shocking turn of events, not even Sesame Street is safe from the allure that Ozempic has created. In recent weeks, some online skeptics have been drawing attention to Big Bird, accusing him of using the drug to become just “Bird.”
Approved by the FDA in 2017, Ozempic was originally intended as a Type 2 Diabetes drug with a common side effect being weight loss while its competitor Wygovy has been specifically approved for weight loss. Both Ozempic and Wygovy are name brands of the drug semaglutide, which imitates GP-1. GP-1, in being the hormone released by the body after eating, stimulates insulin secretion and sparks movement of glucose in cells, therefore creating energy. (This is a scientific way of saying that the drug mimics the feeling of satisfaction and satiation.)
In a double-blind trial, it was reported that the use of this drug resulted in an approximate 15% loss in body weight after 16 months. And, on top of the easy weight-loss, those taking this medication have been seen to have lower risks of heart attacks, strokes and death due to cardiovascular disease when injected on a weekly basis.
So you might be asking, what’s the big deal? Maybe Big Bird has been silently struggling with losing and keeping off the weight, so why not give Ozempic a try?
Some critics of his alleged decision fear that it introduces the idea of unhealthy lifestyle choices to some of the nation’s youngest television viewers, while others simply don’t support the secrecy of it all.
Either way, this has yet to be confirmed. But, if you’re noticing less feathers on Big Bird these days, you are not alone. And who knows? Maybe in a couple of weeks we will know Sesame Street’s main characters as Elmo, Oscar, and, now, just Bird.
The La Salle Collegian 