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Tag: Children's entertainment

  • Movie Review: In the Oscar-nominated ‘Arco,’ an apocalypse kids can get behind

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    In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is “WALL-E.” That’s not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It’s because those quite plausible possibilities mean something different in a kids movie. It’s their future, after all.

    Some of the same can be said about Ugo Bienvenu’s “Arco,” a charming and dreamy sci-fi animated movie where environmental catastrophe and cartoony fun collide. Like “WALL-E,” there are heroic robots in “Arco,” an Oscar nominee for best animated feature. But it’s the film’s plucky young protagonists that give Bienvenu’s future-set film its heart.

    The film opens in a distant future where a family lives on “Jetsons”-like platforms in the clouds. They wear drab onesies (fashion sense has seemingly been lost along with the Earth’s surface) but sport rainbow cloaks that enable them to fly through time, leaving a rainbow streak behind.

    Though 10-year-old Arco (voiced by Juliano Krue Valdi in the English dub) has been told he can’t fly until he’s older, he sneaks off with his sister’s cape and, hoping for a glimpse of the dinosaurs, accidentally crash lands in 2075.

    “Arco” is the unusual movie to exist in two future times, never our present. And it can take a moment to acclimate to both its jumbled timeline and the sheer amount of rainbows. But Bienvenu, a French comic-book artist making his directorial debut, richly imagines a 2075 future of recognizable extremes.

    Storms have become so violent that homes now have protective bubbles around them. Adults work such long hours in a distant city that they are usually mere holograms to their kids — an image that will send shudders down the spine of any parent who Zooms from a work trip. For Iris (voiced by Romy Fay) and her baby brother, the family robot does most of the parenting. In fact, robots do most things: teaching, construction, medical aid.

    Iris, a sharp young girl, sees Arco’s rainbow fly into the woods and runs to find him. At the same time, three bumbling, oddly dressed fellows, dressed in primary colors and wearing rainbow glasses, come looking for him. This trio — voiced in the English dub by Will Ferrell, Andy Samberg and Flea — are a goofy and very French addition to the movie. Ferrell and company are a marked improvement from the original.

    But there’s no harm in giving “Arco” some Saturday-morning-cartoon slapstick to go with the apocalyptic doom. Those three, believing they’re hot on a time-travel trail, stay in pursuit while Arco and Iris develop a friendship and learn about each’s eras.

    Parents remain largely absent. In “Arco,” kids are left to fend for themselves in a world of technology and ecological disaster. (In one of the movie’s most damning moments, the kids find refuge in a library because no one goes in there anymore.) But while there’s no shortage of films that comment on our overly digital lives, technology is far from a villain in “Arco.” It is closer to the savior.

    So while Bienvenu’s film bears similarities to movies before it — Arco is far from the first future boy to fall from the sky — it’s the first that I recall that so directly confronts ecological apocalypse and yet still finds a thrillingly optimistic note to end on. Thrilling because it puts the future in the hands of the young. “Arco” dares to imagine, for them, a rainbow after the storm.

    “Arco,” a Neon release in theaters Friday, is rated PG by the Motion Picture Association for action/peril, mild thematic elements and a brief injury image. Running time: 89 minutes. Three and a half stars out of four.

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  • What to Stream: Kid Laroi, ‘The Pitt’ and ‘Tron: Ares’

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    Returns to “The Pitt,” the Grid and music of Kid Laroi are some of the new television, films and music headed to a device near you

    Returns to “The Pitt,” the Grid and music of Kid Laroi are some of the new television, films and music headed to a device near you.

    The first week of January brings a pair of sophomore efforts: Laroi’s album “Before I Forget” and the second season of the Emmy-winning hospital drama “The Pitt.” This week’s streaming offerings, as selected by The Associated Press’ entertainment journalists, also include the return of “The Night Manager” after nearly a decade.

    — Audiences can reenter the Grid when “Tron: Ares” hits Disney+ on Wednesday. The franchise’s third film stars Jared Leto, Greta Lee and Jodie Turner-Smith and features a return of Jeff Bridges. The 1982 original starred Bridges as a hacker who’s transported into a dangerous digital world and kicked off the cult franchise with then-state-of-the-art computer graphics and special effects. AP critic Mark Kennedy praised Leto and Lee’s performances and said despite being a movie that “bites off too much,” it was worth a watch. A bonus for music fans? The film’s Nine Inch Nails soundtrack with some throwbacks to the original film’s score.

    AP film team

    — Grammy-nominated artist the Kid Laroi — a direct inheritor of Justin Bieber’s glossy R&B-informed pop — will release his sophomore album, “Before I Forget,” on Friday. Judging by the previously released singles, listeners can expect slow-burn breakup reflections (“A Perfect World”) and high-hat heavy tracks with lovelorn lyrics (“A Cold Play”). It’s frictionless listening to start the new year.

    AP Music Writer Maria Sherman

    — In what counts as a quick turnaround these days in the world of prestige TV, “The Pitt” returns for its second season, and second day in the life of a frenetic Pittsburgh emergency room run by Noah Wyle’s beleaguered and beloved Dr. Robby. The first episode of Season 2 premieres Thursday on HBO Max at 9 p.m. Eastern. Expectations will be a lot higher this time. In the 10 months since Season 1 ended, “The Pitt” won the best drama Emmy along with four others, including best actor for Wyle and supporting actress for Katherine LaNasa, who will be returning despite her character vowing to quit after taking a punch. Ten months have also passed in the world of the show, which will again follow a single ER shift, this time on a July Fourth weekend.

    — After a much, much longer absence, “The Night Manager” will return for a second season. It’s been nearly a decade since Tom Hiddleston’s hotel worker-turned-spy stalked a dirty arms dealer on the show based on a novel by John le Carré. It was meant to be a limited series for the BBC and AMC, but its creators are now bringing it back with a new and original story. This time, its airing on Prime Video in the U.S., beginning with a three-episode drop on Sunday.

    AP Entertainment Writer Andrew Dalton

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  • Sure, the newspaper informed. But as it fades, those who used it for other things must adjust, too

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    The sun would rise over the Rockies, and Robin Gammons would run to the front porch to grab the morning paper before school.

    She wanted the comics and her dad wanted sports, but the Montana Standard meant more than their daily race to grab “Calvin and Hobbes” or baseball scores. When one of the three kids made honor roll, won a basketball game or dressed a freshly slain bison for the History Club, appearing in the Standard’s pages made the achievement feel more real. Robin became an artist with a one-woman show at a downtown gallery and the front-page article went on the fridge, too. Five years later, the yellowing article is still there.

    The Montana Standard slashed print circulation to three days a week two years ago, cutting back the expense of printing like 1,200 U.S. newspapers over the past two decades. About 3,500 papers closed over the same time. An average of two a week have shut this year.

    That slow fade, it turns out, means more than changing news habits. It speaks directly to the newspaper’s presence in our lives — not just in terms of the information printed upon it, but in its identity as a physical object with many other uses.

    “You can pass it on. You can keep it. And then, of course, there’s all the fun things,” says Diane DeBlois, one of the founders of the Ephemera Society of America, a group of scholars, researchers, dealers and collectors who focus on what they call “precious primary source information.”

    “Newspapers wrapped fish. They washed windows. They appeared in outhouses,” she says. “And — free toilet paper.”

    The downward lurch in the media business has changed American democracy over the last two decades — some think for better, many for worse. What’s indisputable: The gradual dwindling of the printed paper — the item that so many millions read to inform themselves and then repurposed into household workflows — has quietly altered the texture of daily life.

    People used to catch up on the world, then save their precious memories, protect their floors and furniture, wrap gifts, line pet cages and light fires. In Butte, in San Antonio, Texas, in much of New Jersey and worldwide, lives without the printed paper are just a tiny bit different.

    For newspaper publishers, the expense of printing is just too high in an industry that’s under strain in an online society. For ordinary people, the physical paper is joining the pay phone, the cassette tape, the answering machine, the bank check, the sound of the internal combustion engine and the ivory-white pair of women’s gloves as objects whose disappearance marks the passage of time.

    “Very hard to see it while it’s happening, much easier to see things like that in even modest retrospect,” says Marilyn Nissenson, co-author of “Going Going Gone: Vanishing Americana.” “Young women were going to work and they wore them for a while and then one day they looked at them and thought, ‘This is ludicrous.’ That was a small but telling icon for a much larger social change.”

    Nick Mathews thinks a lot about newspapers. Both of his parents worked at the Pekin (Illinois) Daily Times. He went on to become sports editor of the Houston Chronicle and, now, an assistant professor at the University of Missouri’s School of Journalism.

    “I have fond memories of my parents using newspapers to wrap presents,” he says. “In my family, you always knew that the gift was from my parents because of what it was wrapped in.”

    In Houston, he recently recalled, the Chronicle reliably sold out when the Astros, Rockets or Texas won a championship because so many people wanted the paper as a keepsake.

    Four years ago, Mathews interviewed 19 people in Caroline County, Virginia, about the 2018 shuttering of the Caroline Progress, a 99-year-old weekly paper that was shuttered months before its 100th anniversary.

    In “Print Imprint: The Connection Between the Physical Newspaper and the Self,” published in the Journal of Communication Inquiry, wistful Virginians remember their senior high school portrait and their daughter’s picture in a wedding dress appearing in the Progress. Plus, one told Mathews, “My fingers are too clean now. I feel sad without ink smudges.”

    Flush with cash from Omahans who invested years ago with local boy Warren Buffett, Nebraska Wildlife Rehab is a well-equipped center for migratory waterfowl, wading birds, reptiles, foxes, bobcats, coyotes, mink and beaver.

    “We get over 8,000 animals every year and we use that newspaper for almost all of those animals,” Executive Director Laura Stastny says.

    Getting old newspapers has never been a problem in this neighborly Midwestern city. Yet Stastny frets about the electronic future.

    “We do pretty well now,” she says. “If we lost that source and had to use something else or had to purchase something, that, with the available options that we have now, would cost us more than $10,000 a year easily.”

    That would be nearly 1% of the budget, Stastny says, but “I’ve never been in a position to be without them, so I might be shocked with a higher dollar figure.”

    Until 1974, the Omaha World-Herald printed a morning edition and two afternoon ones, including a late-afternoon Wall Street Edition with closing prices.

    “Afternoon major-league baseball was still standard then, so I got to gorge on both baseball and stock market facts,” an 85-year-old Buffett told the World-Herald in 2013, By then, he had become the world’s most famous investor and the paper’s owner.

    The World-Herald ended its second afternoon edition in 2016 and Buffett left the newspaper business five years ago. Fewer than 60,000 households take the paper today, according to Northwestern University’s Medill School of Journalism, down from nearly more than 190,000 in 2005, or about one per household.

    Few places symbolize the move from print to digital more than Akalla, a district of Stockholm where the ST01 data center sits at a site once occupied by the factory that prints Sweden main newspaper, Kaun says.

    “They have less and less machines, and instead the building is taken over more and more by this co-location data center,” she says.

    Data centers use huge amounts of energy, of course, and the environmental benefit of using less printing paper is also offset by the enormous popularity of online shopping.

    “You will see a decline in printed papers, but there is a huge increase in packaging,” says Cecilia Alcoreza, manager, of forest sector transformation for the World Wildlife Fund.

    The Atlanta Journal-Constitution announced in August that it would stop providing a print edition at year’s end and go completely digital, making Atlanta the largest U.S. metro area without a printed daily newspaper.

    The habit of following the news — of being informed about the world — can’t be divorced from the existence of print, says Anne Kaun, professor of media and communication studies at Södertörn University in Stockholm.

    Children who grew up in homes with printed newspapers and magazines randomly came across news and socialized into a news-reading habit, Kaun observed. With cell phones, that doesn’t happen.

    “I do think it meaningfully changes how we relate to each other, how we relate to things like the news. It is reshaping attention spans and communications,” says Sarah Wasserman, a cultural critic and assistant dean at Dartmouth College in New Hampshire who specializes in changing forms of communication.

    “These things will always continue to exist in certain spheres and certain pockets and certain class niches,” she says. “But I do think they’re fading.”

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  • Children’s author David Walliams denies inappropriate behavior after publisher drops him

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    LONDON — British children’s author and comedian David Walliams has denied allegations of inappropriate behavior after publisher HarperCollins dropped him.

    Walliams, 54, is one of the U.K.’s bestselling children’s book authors and a former judge on the TV show “Britain’s Got Talent.”

    In a statement on Friday, HarperCollins said: “After careful consideration, and under the leadership of its new CEO, HarperCollins UK has decided not to publish any new titles by David Walliams. The author is aware of this decision.”

    A spokesperson for Walliams said in a statement that he “has never been informed of any allegations raised against him by HarperCollins.”

    “He was not party to any investigation or given any opportunity to answer questions. David strongly denies that he has behaved inappropriately and is taking legal advice,” the statement said.

    The publisher said it would not comment on internal matters, “to respect the privacy of individuals.”

    “HarperCollins takes employee wellbeing extremely seriously and has processes in place for reporting and investigating concerns,” it said.

    Walliams has published over 40 children’s books and sold more than 60 million copies worldwide, according to his website. Several of them, including “Gangsta Granny,” have been adapted into a BBC comedy dramas and stage productions.

    Walliams left his role as judge on “Britain’s Got Talent” in 2022 after apologizing for making “disrespectful comments” about auditioning contestants.

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  • Stage jitters replace fear of falling in ‘Eddie the Eagle’s’ latest act

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    GLOUCESTER, England — Waiting in the wings on opening night of “Beauty and the Beast,” Michael Edwards felt the nerve-wracking jitters he experienced four decades earlier staring through thick glasses down a perilously steep ski jump.

    The athlete-turned-performer better known as “Eddie the Eagle” was no stranger to fear, but this was different: he was about to face a theater packed with children.

    In ski jumping, he might break his neck; here he only risked tripping over his lines and failing to win laughs.

    Edwards has added acting to the bustling business of being Eddie the Eagle, feathering his nest and stretching his celebrity far longer than his brief flight as Britain’s first Olympic ski jumper won him fame despite finishing last in the 1988 Calgary Games.

    There is almost nothing he hasn’t done since he entered the spotlight. He has recorded songs, danced on ice, dressed twice as a chicken (eagle suits are scarce), been interviewed in an Amsterdam brothel, filmed car and spectacle commercials, and spoken for hours at a time about what he knows best: how he landed here.

    “I’m always very, very grateful that I got christened Eddie The Eagle and it’s amazing that I’m talking about it 38 years later,” he told The Associated Press. “I’m hoping that I encourage other people to get out there, get off their bum and go for their dream.”

    It didn’t appear early on that Edwards was headed for fame.

    He grew up — and still lives — on the edge of the Cotswolds, in western England where snow is rare and the hills would never be mistaken for mountains. His father expected his son to follow him into plastering — as he did after his father and grandfather.

    But an adolescent Edwards had different designs after a school trip to the Italian Alps sparked a passion for skiing. He became a fixture at Gloucester Ski Centre, where a bristly plastic surface shorter than three football fields offers year-round skiing.

    He became a good downhiller, but didn’t make the British ski team for the 1984 Sarajevo Olympics. Undeterred, he set his sights higher after realizing Britain had no ski jumpers.

    Edwards went to Lake Placid, New York, where he rummaged for skis and gear, including a helmet with no strap that he secured with string and oversized boots he padded out with five pairs of socks.

    At 22, he was learning what the world’s best jumpers began mastering as children.

    “It was like a crash course. And, yeah, I did take huge risks,” he said. “When I finished ski jumping, I was just as scared to do my last jump as I was to do my first. You never get used to it.”

    Short on cash and lacking sponsors, he scrounged food from trash bins, slept in barns, a car and even a mental hospital in Finland — not to mention medical hospitals.

    “It would be easier to name the bones I haven’t broken,” he quipped.

    He fractured his skull twice — while wearing a helmet — broke his jaw, smashed his collarbone in five places, broke three ribs and damaged a kidney and a knee. It didn’t stop him.

    He worked up to bigger jumps and competed internationally. Despite efforts by British sports federations to prevent him competing, he eventually jumped far enough to represent Great Britain at the Olympics.

    Edwards arrived in Calgary to a sign welcoming “Eddie the Eagle” — unaware it was for him.

    Reporters loved his enthusiastic underdog determination and physical appearance. He was hefty by ski jumping standards, had a lantern jaw, wispy moustache and eyes that bulged behind thick lenses in his pink-rimmed aviator-style glasses.

    Few outside the ski jumping world remember the winner, “Flying Finn” Matti Nykänen, who soared over 120 meters and swept all events.

    The most famous remains the man who finished last — 19 meters behind his nearest competitor, but setting a new British record of 71 meters (77 yards).

    Edwards flapped his arms madly after landing and the crowd of 85,000 went wild.

    He returned to a hero’s welcome, escorted by police through throngs at London’s Heathrow Airport.

    “My feet didn’t touch the ground for, oh gosh, about three and a half, four years,” he said. “I was traveling all over the world opening shopping centers, golf courses, hotels, fun rides, doing lots of TV shows and radio shows, meeting film stars, TV stars, musicians, bands, famous people, royalty, all over world and it was amazing.”

    The ski jumping world was less enamored and made sure there will never be another ski jumper like Edwards.

    “We have thousands of Eddie Edwards in Norway,” groused Torbjorn Yggeseth, the ski jump technical director for the International Ski and Snowboard Federation (FIS), the sport’s regulatory body. “But we never let them jump.”

    What’s known as the “Eddie the Eagle rule” set a minimum distance beyond his reach and ended Edwards’ jumping ambitions.

    As promotional opportunities evaporated, Edwards returned to plastering.

    Then a winning turn on Splash! a reality diving contest, helped revive his second career in 2013. Three years later, the biopic “Eddie the Eagle” starring Taron Egerton as Edwards and Hugh Jackman as his coach allowed him to retire his trowel.

    He now earns 3,000 to 12,000 pounds ($4,000-16,000) for talks several days a week, helping him recover from financial setbacks.

    Much of the small fortune he earned from his first wave of fame vanished because a trust fund required to maintain his amateur status was poorly managed, he said. An emotionally taxing divorce in 2016 with the mother of his two daughters drained more savings.

    The “Beauty and the Beast” adaptation at the Watersmeet Theatre in Rickmansworth, outside London, is his second foray into pantomime.

    Panto, as it’s known, is a uniquely British take on classic fairytales at Christmastime that blends music, dance, slapstick, cross-dressing, jokes for kids and bawdy humor for their parents and often stars minor celebrities alongside aspiring actors.

    Zany plot twists sneak in references to Edwards’ fame even though half the audience wasn’t old enough to have even seen the movie when it came out — never mind watching him in the Olympics.

    “Jump” by Van Halen plays as his character, Professor Crackpot, the bumbling father of Belle, enters the stage toting his latest invention — jet-propelled skis.

    At 62, Edwards’ once-blond hair is shaved, his moustache is missing, his underbite has been surgically corrected and his glasses are gone — his nearsightedness corrected with implanted lenses.

    A recurring gag has children in the audience shout, “on your head,” when he fumbles in search of his gigantic eyeglasses.

    He later skis on stage in a replica of his baby blue ski suit from Calgary. He tucks into a downhill position to outrun Santa’s sleigh bearing down from a video projected behind him. Edwards flies off a jump, sticks the landing and is presented with a gold medal.

    The scene served no plot point, but recognized what Edwards is best known for: taking a leap and landing on his feet. It’s a crowd pleaser.

    ___

    AP Olympics coverage: https://apnews.com/hub/milan-cortina-2026-winter-olympics

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  • From Disney to Broadway: Meg Donnelly’s ‘Moulin Rouge!’ debut fulfills theater kid dream

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    NEW YORK (AP) — When she was still just a child, Meg Donnelly gave off a serious theater kid vibe. At 5, her favorite musical role wasn’t the sunny “Annie.” It was Mimi from “Rent,” the struggling erotic dancer who is also a heroin addict.

    Donnelly grew up to become a film and TV star through her breakout role in Disney’s music-filled “Zombies” franchise and the ABC sitcom “American Housewife.” She’s also appeared on “The Masked Singer” and has a new EP, “dying art.”

    This week, the New Jersey-raised actor returned to her first love — theater. Donnelly made her Broadway debut Tuesday in “Moulin Rouge! The Musical,” playing cabaret star Santine. She’ll be aboard the jukebox hit until March.

    The show is about the goings-on in a turn-of-the-century Parisian nightclub, updated with tunes like “Single Ladies” and “Firework” alongside the big hit “Lady Marmalade.”

    The Associated Press got a chance to ask Donnelly about her big night and how it fits into her blossoming career. Answers have been edited for clarity and brevity.

    AP: What was your debut like?

    DONNELLY: It was really surreal. I feel like I’ve been working towards this since I was a little girl. When I was younger, Broadway was the only option. I was a full theater kid — that’s all I wanted to do. And, you know, life just took me in different directions. But this is something that I feel I was born to do and just being on stage last night, it kind of all just makes sense.

    AP: You’re in the Al Hirschfeld Theatre. Do you think you ever saw a show there before?

    DONNELLY: I definitely do. I saw “Kinky Boots” twice. I love “Kinky Boots.” And I think I saw “Kiss Me Kate” there, too.

    AP: What’s your favorite musical?

    DONNELLY: My favorite musical of all time is “Rent.” I saw it a lot when I was younger — maybe when I was too young — and my dream role has always been Mimi, which is really funny. So when I was like 5 or 6 auditioning for theater, they would be like, “What’s your dream role?” And everyone would be, like, “Annie” or “Matilda” and I’d be like, “Mimi!” They’d be like, “Oh my God, this kid!” So, it is very full circle because “Moulin Rouge” is based on the same opera as “Rent.” Satine is kind of Mimi.

    AP: So much of your career makes this a natural step. You played a young woman who sang in a school production of “Little Shop of Horrors” on “American Housewife” and everything about the “Zombie” franchise screams musical theater. How do you describe your path here?

    DONNELLY: There’s not a right or wrong path. You know, there’s so many things in my career where I’m like, “Oh, I wish I’d done that” or “Maybe I should have gone that way.” I’m a very chronic over-thinker. But it really doesn’t matter. I will say, being a part of Disney definitely changed my life.

    AP: Another Broadway-adjacent step was when you were in the cast of NBC’s live telecast of “The Sound of Music” in 2013. You were the understudy for Louisa von Trapp, right?

    DONNELLY: Yes, I understudied Louisa and Ella Watts-Gorman, who played Louisa, was so talented and amazing. I was praying that nothing happened to her. We weren’t really taught much. We knew the music, but that was pretty much it, so I was like, “Dear God, please, let everything go OK.”

    AP: Audra McDonald starred in that, right?

    DONNELLY: Oh my god. Listening to her sing on set was one of the best gifts I’ve ever been given.

    AP: What about your own music?

    DONNELLY: That is something that I really want to pursue. I feel like writing my own music is just so therapeutic for me, and I love performing on stage. Having to do a new show every single night and making everything different and feeding off the energy of the different crowd — that’s what I want to do with my own music as well.

    AP: You did theater growing up alongside Helen J. Shen, who created her part in “Maybe Happy Ending,” right? Would you also like to originate a role one day?

    DONNELLY: That was such a cool thing to watch her go through and it’s so personal, something that she built with them. That would be really, really cool. Just to have that connection to it as well. So, yeah, originating would be really like that would great.

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  • The men of ‘Regretting You’ on Colleen Hoover, romantic movies and shirtless scenes

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    The plot of the new Colleen Hoover adaptation “Regretting You” is a little wild. There’s romance, an affair, unrequited love, death and even a baby with questionable paternity.

    Dave Franco, whose character has long pined for Allison Williams’ character but ends up having a child with her sister who is having an affair with her brother-in-law, said someone recently exclaimed to him, “What in the Maury Povich was that?”

    Tabloid talk show fodder though they might be, Hoover’s novels have hit a nerve with audiences and Hollywood. “It Ends With Us” made over $350 million worldwide against a $25 million budget and “Regretting You,” in theaters Friday, is one of several big-screen adaptations in the works.

    “I think Colleen Hoover is incredible when it comes to dealing with these messy family dynamics that feel relatable,” Franco said. “I think anyone who sees this film can attach themselves to at least one of the characters. It’s juicy, it’s dramatic.”

    Scott Eastwood plays Franco’s best friend and Williams’ husband (the one having an affair with his sister-in-law). Mason Thames plays the high schooler who starts dating Eastwood and Williams’ teenage daughter, played by Mckenna Grace, after her dad and aunt die in a car crash. Complicated does not even scratch the surface.

    The Associated Press gathered the men behind the drama, Franco, Eastwood and Thames, for freewheeling chat about the film, romantic touchstones, shirtless scenes and Eastwood’s Taylor Swift music video. Remarks have been edited for clarity and brevity.

    AP: Scott seems to have the most romantic credits to his name, even a Taylor Swift music video.

    FRANCO: Scott, I don’t know if you know this, did anyone tell you that we all watched the “Wildest Dreams” video on set?

    EASTWOOD: No.

    THAMES: I remember that! We all did.

    FRANCO: Mckenna didn’t realize that you were the guy. Like this is a video dear to her heart, and she put it together in the moment: Scott’s the guy from the “Wildest Dreams” video. She immediately called her mom. She goes “Scott’s the guy.” And we hear her mom through the phone go, “No!” You have a place in a lot of people’s hearts with that video.

    EASTWOOD: I’d never met Taylor Swift before. She called me out of the blue. She said, “Hey this is Taylor.” I’m, like, Taylor who?

    THAMES: I told Scott this the first day I met him, that I thought, before I knew him, from years in advance: best-looking man I’ve ever seen.

    FRANCO: And what was Scott’s reaction?

    EASTWOOD: I’m so sorry, this is your interview.

    AP: Romantic dramas, movies that make you cry, seem to be the kind of films that stick with people, like the outpouring of love for “The Way We Were” when Robert Redford died. What are those movies for you?

    EASTWOOD: It’s “The Notebook.”

    THAMES: “Spider-Man 2.”

    EASTWOOD: Didn’t see that one coming.

    FRANCO: I’ll go with “Stand By Me.” Classic, timeless, gives you a little bit of everything. You got the drama, you got the laughter, you’ve got the tears. What about “Jerry Maguire”?

    EASTWOOD: That’s a tear, like not a cry.

    FRANCO: I’m letting those tears fall, Scott. I think our director, Josh Boone, his guiding lights might have been Cameron Crowe: “Jerry Maguire,” “Almost Famous,” “Say Anything.” Those movies that have a little bit of everything and just feel timeless.

    AP: Were there any touchstones you used for your characters? Iconic romantic leads?

    THAMES: “The Notebook” was mine. Me and Mckenna watched “The Notebook” and “10 Things I Hate About You” and also “The Fault in Our Stars.”

    FRANCO: In “Regretting You,” you guys have that really strong passionate pull to each other. It’s almost Romeo and Juliet.

    THAMES: That’s kind of what we wanted. That’s what’s so special that we haven’t seen in so long from movies like this, is kind of the magic and the passion between two love interests.

    FRANCO: Scott, who were your reference characters?

    EASTWOOD: Mostly all of my romantic movies.

    FRANCO: Name them! Name them!

    EASTWOOD: Guys, this is a long list.

    FRANCO: I used the show “Normal People,” just because those characters go through this journey over the years and they have these peaks and valleys and there’s this really strong history between them. Also those actors are just very subtle, very real, very vulnerable.

    AP: Mason’s character in particular seems like a healthy role model for teenagers dating.

    THAMES: At the end of the day, he’s just a dude. I think this is the character that I’ve played that most resembles me.

    FRANCO: I’m going to give him a compliment. When you look back at like James Dean and Montgomery Clift, they were these actors who obviously were very strong and powerful and had a great presence, but they were super vulnerable and just not afraid to show that kind of sensitive side. I think Mason has that in spades.

    THAMES: I paid him a lot to say that.

    AP: There’s a bit of voyeurism involved being in something like a Colleen Hoover adaptation. What’s your comfort level with being seen as a kind of heartthrob?

    FRANCO: Scott should kick this off.

    EASTWOOD: It’s a two. But the scale is one to three. So it’s in the middle. I don’t pay attention to that stuff. I just think we made a cool movie. That’s all we can really do. Try to pay tribute to the books.

    FRANCO: Scott is shirtless in this movie for a little bit.

    EASTWOOD: That’s a lie!

    FRANCO: That’s NOT a lie.

    EASTWOOD: When am I shirtless in the movie?

    FRANCO: On the beach!

    EASTWOOD: Oh that’s right.

    THAMES: That’s why you should go see “Regretting You.” I’m also shirtless. He’s also shirtless.

    FRANCO: No, they cut my shirtless scene.

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  • The new Children’s Booker Prize aims to reward quality fiction for kids

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    LONDON — Britain’s most prestigious literary prize is getting a younger sibling.

    The Booker Prize Foundation announced Friday that it is setting up the Children’s Booker Prize alongside its existing awards for English-language and translated fiction.

    Like its sister prizes, the children’s award comes with a 50,000 pound ($67,000) purse.

    The prize will open for submissions early next year and the inaugural award will be handed out in 2027, with the winner picked by a jury of children and adults led by writer Frank Cottrell-Boyce, Britain’s current children’s laureate.

    Cottrell-Boyce, whose books include the Carnegie Medal-winning “Millions,” said he was “buzzing” about the prospect.

    “It’s going to be – as they say – absolute scenes in there. Let the yelling commence,” he said.

    Funded by the arts, environment and education charity AKO Foundation, the new award will be open to fiction from any country aimed at children aged 8 to 12, either written in English or translated, and published in the U.K. or Ireland.

    Booker Prize Foundation Chief Executive Gaby Wood said the prize aimed to inspire more young people to read and be “a seed from which we hope future generations of lifelong readers will grow.”

    The original Booker Prize was founded in 1969 and has established a reputation for transforming writers’ careers. Its winners have included Salman Rushdie, Margaret Atwood, Ian McEwan, Arundhati Roy and Hilary Mantel.

    This year’s winner will be announced on Nov. 10.

    The International Booker Prize was established in 2005 as a lifetime achievement award. Since 2016 it has gone to a single work of translated fiction, with the prize money split between author and translator. Past winners include Nobel literature laureates Olga Tokarczuk of Poland and Han Kang of South Korea.

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  • Bestselling author Jodi Picoult pushes back after her musical is canceled by Indiana high school

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    NEW YORK — NEW YORK (AP) — Author Jodi Picoult has the dubious honor of being banned in two mediums this fall — her books and now a musical based on her novel “Between the Lines.”

    “I’m pretty sure I’m the first author who has now had censorship occur in two different types of media,” Picoult says. “Honestly, I’m not out here to be salacious. I am writing the world as it is, and I am honestly just trying to write about difficult issues that people have a hard time talking about because that is what fiction and the arts do.”

    The superintendent of Mississinewa High School in Gas City, Indiana, canceled a production last week of “Between the Lines,” saying concerns were raised over “sexual innuendo” and alcohol references in the musical. Jeremy Fewell, the superintendent, did not respond to a request for comment.

    “It’s devastating for us to know that these kids who put in hundreds of hours of hard work had that torn away from them because of the objections of a single parent,” says Picoult.

    “What I know, perhaps better than most people, as someone whose books have been banned, is when one parent starts deciding what is appropriate and what is inappropriate for the children of other parents, we have a big problem.”

    Picoult noted that the same Indiana high school has previously produced “Grease,” where the sexual innuendo and alcohol abuse is much greater, including a pregnancy scare, sex-mad teens and the line “Did she put up a fight?”

    “Between the Lines” centers on Delilah, an outsider in a new high school, who finds solace in a book and realizes she has the power to write her own story and narrate her own life. “It is a very benign message. And it’s actually a really important one for adolescents today,” says Picoult.

    The original work, which features a nonbinary character, had already been edited with licensed changes to make it more palatable for a conservative audience, including removing any reference to the nonbinary character’s gender orientation.

    The production was scheduled for Halloween weekend at the Gas City Performing Arts Center. The show has music and lyrics by Elyssa Samsel and Kate Anderson, and a story by Timothy Allen McDonald, based on the 2012 novel by Picoult and her daughter, Samantha van Leer. It played off-Broadway in 2022.

    Picoult, the bestselling author of “My Sister’s Keeper” and “Small Great Things,” has also written about the moments leading up to a school shooting in “Nineteen Minutes,” which was banned 16 times in the 2024-2025 school year, according to PEN America, making her the nation’s fourth most-banned author.

    “I had 20 books banned in one school district in Florida alone because of a single parent’s objection and she admitted she had not read any of the books,” said Picoult, a PEN America trustee. “She said that they were banned for ‘mature content and sexuality.’ There were books of mine that did not even have a single kiss in them.”

    The uptick in book banning has spread to stages as well. The Dramatists Legal Defense Fund has documented recently challenged plays and musicals from states including Pennsylvania, Florida, Indiana, Kansas, Ohio and New Jersey after parents or teachers complained that the works’ social themes weren’t appropriate for minors.

    The Northern Lebanon High School, in Fredericksburg, Pennsylvania, canceled a 2024 production of “The Addams Family,” citing concerns over scenes with violence, children smoking and subtle queer themes. Paula Vogel’s play “Indecent,” which explores a flashpoint in Jewish and queer theatrical history, was abruptly canceled in Florida’s Duval County in 2023 for “inappropriate” sexual dialogue.

    Last year, the Educational Theatre Association asked more than 1,800 theatre educators in public and private schools across the U.S. about censorship. More than 75% of respondents reported pressure to reconsider their play and musical choices during the 2023-24 school year.

    “We are not protecting kids,” said Picoult. “We are robbing them of materials that we use to deal with an increasingly complex world.”

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  • The men of ‘Regretting You’ on Colleen Hoover, romantic movies and shirtless scenes

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    The plot of the new Colleen Hoover adaptation “Regretting You” is a little wild. There’s romance, an affair, unrequited love, death and even a baby with questionable paternity.

    Dave Franco, whose character has long pined for Allison Williams’ character but ends up having a child with her sister who is having an affair with her brother-in-law, said someone recently exclaimed to him, “What in the Maury Povich was that?”

    Tabloid talk show fodder though they might be, Hoover’s novels have hit a nerve with audiences and Hollywood. “It Ends With Us” made over $350 million worldwide against a $25 million budget and “Regretting You,” in theaters Friday, is one of several big-screen adaptations in the works.

    “I think Colleen Hoover is incredible when it comes to dealing with these messy family dynamics that feel relatable,” Franco said. “I think anyone who sees this film can attach themselves to at least one of the characters. It’s juicy, it’s dramatic.”

    Scott Eastwood plays Franco’s best friend and Williams’ husband (the one having an affair with his sister-in-law). Mason Thames plays the high schooler who starts dating Eastwood and Williams’ teenage daughter, played by Mckenna Grace, after her dad and aunt die in a car crash. Complicated does not even scratch the surface.

    The Associated Press gathered the men behind the drama, Franco, Eastwood and Thames, for freewheeling chat about the film, romantic touchstones, shirtless scenes and Eastwood’s Taylor Swift music video. Remarks have been edited for clarity and brevity.

    FRANCO: Scott, I don’t know if you know this, did anyone tell you that we all watched the “Wildest Dreams” video on set?

    EASTWOOD: No.

    THAMES: I remember that! We all did.

    FRANCO: Mckenna didn’t realize that you were the guy. Like this is a video dear to her heart, and she put it together in the moment: Scott’s the guy from the “Wildest Dreams” video. She immediately called her mom. She goes “Scott’s the guy.” And we hear her mom through the phone go, “No!” You have a place in a lot of people’s hearts with that video.

    EASTWOOD: I’d never met Taylor Swift before. She called me out of the blue. She said, “Hey this is Taylor.” I’m, like, Taylor who?

    THAMES: I told Scott this the first day I met him, that I thought, before I knew him, from years in advance: best-looking man I’ve ever seen.

    FRANCO: And what was Scott’s reaction?

    EASTWOOD: I’m so sorry, this is your interview.

    EASTWOOD: It’s “The Notebook.”

    THAMES: “Spider-Man 2.”

    EASTWOOD: Didn’t see that one coming.

    FRANCO: I’ll go with “Stand By Me.” Classic, timeless, gives you a little bit of everything. You got the drama, you got the laughter, you’ve got the tears. What about “Jerry Maguire”?

    EASTWOOD: That’s a tear, like not a cry.

    FRANCO: I’m letting those tears fall, Scott. I think our director, Josh Boone, his guiding lights might have been Cameron Crowe: “Jerry Maguire,” “Almost Famous,” “Say Anything.” Those movies that have a little bit of everything and just feel timeless.

    THAMES: “The Notebook” was mine. Me and Mckenna watched “The Notebook” and “10 Things I Hate About You” and also “The Fault in Our Stars.”

    FRANCO: In “Regretting You,” you guys have that really strong passionate pull to each other. It’s almost Romeo and Juliet.

    THAMES: That’s kind of what we wanted. That’s what’s so special that we haven’t seen in so long from movies like this, is kind of the magic and the passion between two love interests.

    FRANCO: Scott, who were your reference characters?

    EASTWOOD: Mostly all of my romantic movies.

    FRANCO: Name them! Name them!

    EASTWOOD: Guys, this is a long list.

    FRANCO: I used the show “Normal People,” just because those characters go through this journey over the years and they have these peaks and valleys and there’s this really strong history between them. Also those actors are just very subtle, very real, very vulnerable.

    THAMES: At the end of the day, he’s just a dude. I think this is the character that I’ve played that most resembles me.

    FRANCO: I’m going to give him a compliment. When you look back at like James Dean and Montgomery Clift, they were these actors who obviously were very strong and powerful and had a great presence, but they were super vulnerable and just not afraid to show that kind of sensitive side. I think Mason has that in spades.

    THAMES: I paid him a lot to say that.

    FRANCO: Scott should kick this off.

    EASTWOOD: It’s a two. But the scale is one to three. So it’s in the middle. I don’t pay attention to that stuff. I just think we made a cool movie. That’s all we can really do. Try to pay tribute to the books.

    FRANCO: Scott is shirtless in this movie for a little bit.

    EASTWOOD: That’s a lie!

    FRANCO: That’s NOT a lie.

    EASTWOOD: When am I shirtless in the movie?

    FRANCO: On the beach!

    EASTWOOD: Oh that’s right.

    THAMES: That’s why you should go see “Regretting You.” I’m also shirtless. He’s also shirtless.

    FRANCO: No, they cut my shirtless scene.

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  • From Grammy winner to children’s author: Laufey’s new book is ‘Mei Mei The Bunny’

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    NEW YORK (AP) — She’s won a Grammy, collaborated with Barbra Streisand and performed with the Los Angeles Philharmonic. Now Laufey is taking on a new challenge: creating a children’s story inspired by her mascot-alias, Mei Mei The Bunny.

    Penguin Workshop announced Tuesday that Laufey’s picture book, “Mei Mei The Bunny,” will be published April 21. Illustrated by Lauren O’Hara, the book tells of Mei Mei’s determination to become a professional musician even as she encounters some initial struggles.

    “I’m so excited to now share Mei Mei The Bunny in storybook form!” Laufey said in a statement. “Mei Mei has been a part of my life for over the last few years and opening up the world around her has been the most beautiful exploration. I hope that anyone at any age can find something in Mei Mei’s story that inspires them and connects them to the people in their lives.”

    Born Laufey Lín Bing Jónsdóttir in Iceland, the 26-year-old Laufey is known for her distinctive blend of pop, classical and jazz. Her release from 2023, “Bewitched,” won a Grammy for best traditional pop vocal album. Earlier this year, she released the album “A Matter of Time.”

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  • From Grammy winner to children’s author: Laufey’s new book is ‘Mei Mei the Bunny’

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    Laufey, the Grammy-winning artist, is creating a children’s story inspired by her mascot-alias, Mei Mei The Bunny

    NEW YORK — NEW YORK (AP) — She’s won a Grammy, collaborated with Barbra Streisand and performed with the Los Angeles Philharmonic. Now Laufey is taking on a new challenge: creating a children’s story inspired by her mascot-alias, Mei Mei The Bunny.

    Penguin Workshop announced Tuesday that Laufey’s picture book, “Mei Mei The Bunny,” will be published April 21. Illustrated by Lauren O’Hara, the book tells of Mei Mei’s determination to become a professional musician even as she encounters some initial struggles.

    “I’m so excited to now share Mei Mei The Bunny in storybook form!” Laufey said in a statement. “Mei Mei has been a part of my life for over the last few years and opening up the world around her has been the most beautiful exploration. I hope that anyone at any age can find something in Mei Mei’s story that inspires them and connects them to the people in their lives.”

    Born Laufey Lín Bing Jónsdóttir in Iceland, the 26-year-old Laufey is known for her distinctive blend of pop, classical and jazz. Her release from 2023, “Bewitched,” won a Grammy for best traditional pop vocal album. Earlier this year, she released the album “A Matter of Time.”

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  • Met season opens with new opera based on Michael Chabon novel starring tenor Miles Mykkanen

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    NEW YORK — Miles Mykkanen grew up wanting to sing and dance on Broadway, but he was turned down by the musical theater programs he applied to for college. So he had to “settle” for studying opera at the Juilliard School at Lincoln Center.

    “At 18, when your sights are set on 42nd Street and then you’re getting called to 65th Street, it was weirdly a letdown,” he recalled. “But after a few hours I kind of slapped myself and said ‘Miles, pull yourself together.’”

    That was 16 years ago, and he has since pulled himself together to such an extent that at age 34 he’s just opened the Metropolitan Opera season in a leading role in a new opera, “The Amazing Adventures of Kavalier & Clay.”

    With a libretto by Gene Scheer and score by Mason Bates, the opera is based on the novel by Michael Chabon. Mykkanen portrays Sammy Clay, a Jewish kid growing up in World War II-era Brooklyn who teams with his cousin, Czech refugee Joe Kavalier, to create a comic strip hero modeled on Superman.

    He’ll also be back at the Met in the spring in another modern opera, Finnish composer Kaija Saariaho’s “Innocence.” He plays the Bridegroom, a part he first sang in 2024 when San Francisco Opera gave the work’s U.S. premiere.

    Mykkanen had sung at the Met before, mostly attracting little attention in small parts, though his haunting rendition of the Holy Fool in Mussorgsky’s “Boris Godunov” in 2021 drew critical acclaim.

    “But this season is so ideal,” Mykkanen said. “All of a sudden my schedule came together, and I thought, my God, where did this all come from.”

    When the Met was casting “Kavalier & Clay,” it was Michael Heaston, the artistic administrator, who thought of Mykkanen for the role of Sammy.

    “I first became acquainted with Miles when he was still a student at Juilliard, and he immediately impressed me,” Heaston said. “He is a singer who can straddle genres, that rare artist who can sing a heartfelt operatic aria in one moment and then turn on a dime to a classic tune from the American Songbook.

    “When I looked at Mason’s score and considered the vocal and acting demands alike, it seemed tailor-made for Miles.”

    Mary Birnbaum, who taught Mykkanen acting at Juilliard, said she’s not surprised at his sudden rise to prominence.

    “Honestly it’s what I thought he would do all along,” she said. “He’s got a very American sound, and it’s appealing and it’s lush. But also he’s bold as an actor … and he makes material look better for being in it.”

    By coincidence, both his roles this season are people who have something to hide. “They are characters with two huge secrets that are kind of gnawing away at them,” Mykkanen said.

    In Sammy’s case, it’s his sexuality and ambivalence about his attraction to actor Tracy Bacon.

    “As a gay man myself, it’s been really rewarding for me to be working on this role, thinking back to my coming out process 20 years ago now,” Mykkanen said. “Sammy wants to believe there’s a future for him, but he keeps struggling and wondering if the world will ever get past its prejudice and accept him.”

    “Innocence” deals with the lingering effects of a school shooting 10 years later, and as secrets are peeled away, the Bridegroom’s role in the horrific events is gradually exposed.

    Mykkanen relishes the very different musical challenges the two roles provide. Saariaho’s score for “Innocence,” he said is composed with a kind of “mathematical” precision. “When I first cracked it open, it was overwhelming because of the time signatures, the key signatures. You’re trying to figure out, what was she thinking, how do you put this all together?”

    “Kavalier & Clay,” written in a style that uses what Bates calls “symphonic electronica,” has been easier to learn. “I almost feel it’s starting to carve a new genre in opera,” Mykkanen said. “Something American opera has been trying to find in the last decade or so. … I don’t want to stay to say it’s musical theater, but at times it’s very colloquial.”

    Mykkanen grew up in the remote Ironwood region of Michigan’s Upper Peninsula, where both his parents were high school band directors. Though he displayed a talent for singing at a young age, it was show music rather than opera that inspired him. When his parents found him a classical voice teacher, “For me it was a means to an end, to develop my voice so I could sing on the Broadway stage.”

    Though his career now takes him all over the U.S. and to Europe, Mykkanen still calls the Ironwood region home. In 2020, he launched an arts festival called Emberlight that has grown into a two-month summer program of live performance, film, art shows and talkbacks with visiting artists. When he’s not on site he handles logistics remotely and also relies heavily on volunteers.

    “Just being the person who with a lot of other people behind me brings art to this region which is rural and remote … It’s been one of the big blessings of my life,” he said.

    And when he isn’t performing, he returns. “I have a room in my parents’ basement where I store my stuff,” he said. “When I’m between contracts I come back here and stay with my mom and dad. … I’lll call them from Amsterdam and say ‘OK, what are we having for dinner next Tuesday when I land.’”

    “Kavalier & Clay” runs through Oct. 11. Also starring are baritone Andrzej Filończyk as Joe; soprano Lauren Snouffer as his sister, Sarah; soprano Sun-Ly Pierce as Rosa Saks, and baritone Edward Nelson as Tracy Bacon. Met music director Yannick Nézet-Séguin conducts the production directed by Bartlett Sher.

    ___

    This story has been updated to correct the year that Mykkanen founded the Emberlight festival to 2020 and the first name of Tracy Bacon, a character played by Edward Nelson.

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  • D4vd tour dates removed from websites after the discovery of a girl’s body in Los Angeles

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    LOS ANGELES — The last two remaining dates in singer d4vd’s U.S. tour and multiple stops in his upcoming European tour have been removed from ticketing websites, as authorities continue to investigate the discovery of the decomposed body of a teenage girl in Los Angeles.

    Police have not said d4vd (pronounced “David”) is implicated in the death of Celeste Rivas Hernandez, whose body was found inside an impounded Tesla earlier this month. Celeste, 15, was reported missing last year.

    Several news outlets have reported that the vehicle was registered to d4vd, whose real name is David Anthony Burke, 20. His representatives have not responded to requests for comment, and police have also not publicly said whether the singer owned the car.

    D4vd’s scheduled performance in San Francisco on Friday was marked as canceled on the venue’s website. His last U.S. tour stop in Los Angeles on Saturday was removed from the venue’s site and both events were marked as canceled on Ticketmaster.

    The singer also had a scheduled appearance at the Grammy Museum in Los Angeles on Wednesday. The event, which was listed as sold out a few days ago, has been removed from the venue’s website.

    Representatives of both venues, as well as d4vd, did not immediately respond to The Associated Press’ request for comment on the status of the tour.

    The Houston-born singer-songwriter began the North American leg of his tour in early August and was set for Europe in early October. At least nine of his European dates have also been canceled on Ticketmaster, including his first stop in Norway on Oct. 1.

    Some dates in Sweden, France, Poland — and the handful of shows he had for Australia in December — are still available for purchase as of Friday. The alt-pop singer was on tour for his first full-length album, “Withered,” released in April.

    D4vd is popular among Gen Z, mixing indie rock, R&B, and lo-fi pop. He went viral on TikTok in 2022 with the hit “Romantic Homicide,” which peaked at No. 4 on Billboard’s Hot Rock & Alternative Songs chart. He then signed with Darkroom and Interscope and released his debut EP “Petals to Thorns” and a follow-up, “The Lost Petals,” in 2023.

    An unnamed representative for d4vd told NBC Los Angeles that the singer has been cooperating with authorities since the body was found. It’s not clear why his car had been impounded.

    Rivas was last seen in April 2024 in Lake Elsinore, about 60 miles (95 kilometers) southeast of downtown Los Angeles. She was 13 at the time.

    Rivas’s body “was found severely decomposed,” the Los Angeles County Medical Examiner’s Office said in a statement Wednesday. Her cause of death has not been determined.

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  • Don’t look now, but there’s an AI-generated Italian teacup on your child’s phone. What does it mean?

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    In the first half of 2025, she racked up over 55 million views on TikTok and 4 million likes, mostly from tweens glued to their cellphones. Not bad for an AI-generated cartoon ballerina with a cappuccino teacup for a head.

    Her name is Ballerina Cappuccina. Her smiling, girlish face is accompanied by a deep, computer-generated male voice singing in Italian — or, at least, some Italian. The rest is gibberish.

    She is one of the most prominent characters in the internet phenomenon known as “Italian Brain Rot,” a series of memes that exploded in popularity this year, consisting of unrealistic AI-generated animal-object hybrids with absurdist, pseudo-Italian narration.

    The trend has baffled parents, to the delight of young people experiencing the thrill of a new, fleeting cultural signifier that is illegible to older generations.

    Experts and fans alike say the trend is worth paying attention to, and tells us something about the youngest generation of tweens.

    The first Italian brain-rot character was Tralalero Tralala, a shark with blue Nike sneakers on his elongated fins. Early Tralalero Tralala videos were scored with a curse-laden Italian song that sounds like a crude nursery rhyme.

    Other characters soon emerged: Bombardiro Crocodilo, a crocodile-headed military airplane; Lirilì Larilà, an elephant with a cactus body and slippers; and Armadillo Crocodillo, an armadillo inside a coconut, to name a few.

    Content creators around the world have created entire storylines told through intentionally ridiculous songs. These videos have proven so popular that they have launched catchphrases that have entered mainstream culture for Generation Alpha, which describes anyone born between 2010 and 2025.

    Fabian Mosele, 26, calls themselves an “Italian brain rot connoisseur.” An Italian animator who lives in Germany and works with AI by trade, Mosele created their first Italian brain-rot content in March. Shortly after, Mosele’s video of Italian brain-rot characters at an underground rave garnered about a million views overnight, they said. It has since topped 70 million.

    Even as the hysteria over the absurdist subgenre has slowed, Mosele said the characters have transcended the digital realm and become an indelible part of pop culture.

    “It feels so ephemeral,” Mosele said, “but it also feels so real.”

    This summer, one of the most popular games on Roblox, the free online platform that has approximately 111 million monthly users, was called “Steal a Brainrot.” The goal of the game, as the title would suggest, is to steal brain rot characters from other players. More popular characters, like Tralalero Tralala, are worth more in-game money.

    Sometimes, the games’ administrators — who are also players — cheat to steal the characters, a move called “admin abuse” that sent many kids and teens into a frenzy. One video of a young child hysterically crying over a stolen character has 46.8 million views on TikTok.

    In the non-virtual world, some have made physical toy replicas of the characters, while others have created real-life plays featuring them.

    The nonsensical songs have at times gestured to real-world issues: One clip of Bombardiro Crocodilo sparked outrage for seemingly mocking the war in Gaza.

    But ultimately, the majority of videos are silly and absurd.

    Mosele said Italian brain-rot consumers largely don’t care about how the images relate to what is being said or sung. They often don’t even care to translate the nonsensical Italian to English.

    “It’s funny because it’s nonsense,” Mosele said.

    “Seeing something so dark, in a way, and out of the ordinary, that breaks all the norms of what we would expect to see on TV — that’s just super appealing.”

    Italian brain rot didn’t go viral in a vacuum. “Brain rot,” the 2024 Oxford University Press word of the year, is defined as the numbing of an intellectual state resulting from the “overconsumption of trivial or unchallenging material.”

    It can also be used to describe the brain-rotting content itself.

    Lots of content falls into that category. Consider videos of the game “Subway Surfer” split-screened next to full episodes of television shows, or “Skibidi Toilet,” an animated series featuring toilets with human heads popping out of their bowls.

    Those not chronically online might instinctively recoil at the term brain rot, with its vaguely gory connotations, especially as concern about the potential harms of social media for adolescents mounts.

    When brain rot was crowned word of the year, Oxford Languages President Casper Grathwohl said the term speaks to “one of the perceived dangers of virtual life, and how we are using our free time.”

    Emilie Owens, 33, a children’s media researcher, agreed that endless scrolling poses dangers for young people. But she said that the concern about brain rot is misguided.

    It’s normal to “view the thing the newest generation is doing with fear and suspicion,” she said, pointing to how past generations have had similar concerns about the detrimental effects of comic books, television and even novels at one time.

    Concerns about brain rot — that it is unproductive and pointless — actually reveal a great deal about their appeal, Owens said. Brain rot is an acute rejection of the intense pressures on young people to self-optimize.

    “It’s very normal for everyone to need to switch their brains off now and again,” she said.

    ___

    Riddle is a corps member for The Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues.

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  • Ciara reinforces her passion for music with ‘CiCi.’ The album is her first since 2019

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    NEW YORK — Ciara will deliver a new bundle of joy on Friday, but it’s not the fifth child her husband publicly flirts with her about.

    “It’s time. Honestly, I’ve been working on this album for almost five years,” said the R&B-pop superstar. “I put a lot of blood, sweat, and tears, as they would say, into this project … I literally gave birth to two babies while I was making this project, too. So, a lot has happened.”

    Expanding her 2023 seven-track EP “CiCi,” it’s the Grammy winner’s first album since 2019’s “Beauty Marks,” her first as an independent artist.

    “I was still actively putting out music on the project. So, it’s not like I was five years chillin’,” said the “Level Up” artist. “If I ever stop loving the process and experience, then I’ll stop. But I have so much passion for it and I just feel so fortunate that 21 years later, from my first album ‘Goodies’ to now, that I still have the same excitement I had as a little girl.”

    Her eighth studio album, “CiCi” includes songs from the EP such as “How We Roll,” her 2023 Chris Brown collaboration which reached No. 1 on Billboard’s R&B digital song sales charts, “Forever” with Lil Baby and the sensual bop, “Low Key.” But the 14-track full-length record, with writing and production from Theron Thomas and J.R. Rotem, separates itself with appearances from Tyga, BossMan DLow and Busta Rhymes. Latto also joins her on “This Right Here,” an anticipated reunion with Jazze Pha who executive produced her 2004 debut, hitting No. 3 on the Billboard 200.

    One of the preeminent stage performers in her class and lauded for her dancing, Ciara owns smashes like “Goodies” which topped the Billboard 100, “Oh” featuring Ludacris, “Body Party,” and “Promise.” Four albums reached the Billboard 200 top 10, including 2006’s “Ciara: The Evolution” which hit No. 1.

    In an era where music is often released rapidly, Ciara’s leisurely pace has been questioned by fans and critics, wondering if she’s traded her love for music for a perceived socialite lifestyle with her Super Bowl-winning husband, Russell Wilson.

    “I feel like I don’t have to explain anything to anybody,” said the “Ride” singer, who’s recently released collaborations with several Asian artists. “Not every year has been about music. And sometimes, it’s been about me just growing as a human. Sometimes, it’s been about me finding my way obviously as a mom, and then I have family now and my husband, being there for him. These are all real things.”

    It’s a perception she aims at on “Run It Up” with BossMan Dlow, singing, “No matter how many points I put up on the board, you know they gon’ hate / I’m in a league of my own, I’m a wife and a mom / … You ain’t gotta worry, you know that we straight.”

    “I go from the stage to the classroom. I go from the classroom to the football field to support my husband. Then, I got on my schedule we’re gonna go school shopping tomorrow,” said the 39-year-old who wrote on every song. “That’s how my life is, but I would not have it any other way.”

    Other standout tracks include the previously released slow jam “Ecstasy” which she later remixed with Normani and Teyana Taylor, and the feel good “Drop Your Love,” sampling “Love Come Down” from Evelyn “Champagne” King. She continued her two-step groove on “This Right Here,” recreating the nostalgic magic with Pha and resurfacing his memorable “Ci-araaa!” ad-lib.

    “It’s always been love with Jazze and I … there was behind-the-scenes type of stuff that was beyond he and I,” referring to the producer who crafted her megahit “1,2 Step” with Missy Elliott. “People want the classic him. They want me to be me, too, in that moment. And so, I feel like we accomplished that.”

    Becoming one of the first celebrities to gain Benin citizenship as part of a recent law by the small West African nation granting rights to descendants of enslaved people, Ciara hopes to shed light on the country, as well as the continent which has exploded globally in the music market thanks to Afrobeats.

    She’s also expanding her Why Not You Foundation, the nonprofit founded with Wilson in 2014 to help disadvantaged youth with educational and personal development resources. With Why Not You centers already in Atlanta and Pittsburgh, they plan to expand in the New York-New Jersey area. Wilson signed with the New York Giants during the offseason.

    “Success to me is yes, putting out music. Being the best artist I can be, hopefully being known as one of the best to ever do it … But it’s not solely in that,” she said. “People lose themselves because they didn’t live. I don’t want to be that girl – I’m not going to be that girl.” ___

    Follow Associated Press entertainment journalist Gary Gerard Hamilton at @GaryGHamilton on all his social media platforms.

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  • Beyoncé endorses Kamala Harris in joyful speech at Houston rally: ‘I’m here as a mother’

    Beyoncé endorses Kamala Harris in joyful speech at Houston rally: ‘I’m here as a mother’

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    “I’m not here as a celebrity, I’m not here as a politician. I’m here as a mother,” Beyoncé said at a campaign rally for Kamala Harris.

    “A mother who cares deeply about the world my children and all of our children live in, a world where we have the freedom to control our bodies, a world where we’re not divided,” she said Friday night in Houston.

    “Imagine our daughters growing up seeing what’s possible with no ceilings, no limitations,” she continued. “We must vote, and we need you.”

    At the end, Beyoncé, who was joined onstage by her Destiny’s Child bandmate Kelly Rowland, introduced Harris. “Ladies and gentlemen, please give a big, loud, Texas welcome to the next president of the United States, Vice President Kamala Harris,” she said.

    She did not perform — unlike in 2016, when she performed at a presidential campaign rally for Hilary Clinton in Cleveland.

    Houston is Beyoncé’s hometown, and Harris’ presidential campaign has taken on Beyonce’s 2016 track “Freedom,” a cut from her landmark 2016 album “Lemonade,” as its anthem.

    Harris first used the song in July during her first official public appearance as a presidential candidate at her campaign headquarters in Delaware. That same month, Beyoncé’s mother, Tina Knowles, publicly endorsed Harris for president.

    Beyoncé gave permission to Harris to use the song, a campaign official who was granted anonymity to discuss private campaign operations confirmed to The Associated Press.

    Arriving in the back-half of “Lemonade,” “Freedom” samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively. It also features Pulitzer Prize winner Kendrick Lamar.

    Kinitra D. Brooks, an academic and author of “The Lemonade Reader,” says the song “‘Freedom” is so important because it shows that freedom isn’t free. The freedom to be yourself, the political freedom … it’s the idea that you must fight for freedom, and that it is winnable.”

    The Harris rally in Houston highlighted the perilous medical fallout from the state’s strict abortion ban and putting the blame squarely on Donald Trump.

    Since abortion was restricted in Texas, the state’s infant death rate has increased, more babies have died of birth defects and maternal mortality has risen.

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  • Parents will have to set aside some earnings for child influencers under new California laws

    Parents will have to set aside some earnings for child influencers under new California laws

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    SACRAMENTO, Calif. (AP) — Parents in California who profit from social media posts featuring their children will be required to set aside some earnings for their minor influencers under a pair of measures signed Thursday by Gov. Gavin Newsom.

    California led the nation nearly 80 years ago in setting ground rules to protect child performers from financial abuse, but those regulations needed updating, Newsom said. The existing law covers children working in movies and TV but doesn’t extend to minors making their names on platforms such as TikTok and Instagram.

    Family-style vlogs, where influencers share details of their daily lives with countless strangers on the internet, have become a popular and lucrative way to earn money for many.

    Besides coordinated dances and funny toddler comments, family vlogs nowadays may share intimate details of their children’s lives — grades, potty training, illnesses, misbehaviors, first periods — for strangers to view. Brand deals featuring the internet’s darlings can reap tens of thousands of dollars per video, but there have been minimal regulations for the “sharenthood” industry, which experts say can cause serious harm to children.

    “A lot has changed since Hollywood’s early days, but here in California, our laser focus on protecting kids from exploitation remains the same,” he said in a statement. “In old Hollywood, child actors were exploited. In 2024, it’s now child influencers. Today, that modern exploitation ends through two new laws to protect young influencers on TikTok, Instagram, YouTube, and other social media platforms.”

    The California laws protecting child social media influencers follow the first-in-the-nation legislation in Illinois that took effect this July. The California measures apply to all children under 18, while the Illinois law covers those under 16.

    The California measures, which received overwhelming bipartisan support, require parents and guardians who monetize their children’s online presence to establish a trust for the starlets. Parents will have to keep records of how many minutes the children appear in their online content and how much money they earn from those posts, among other things.

    The laws entitle child influencers to a percentage of earnings based on how often they appear on video blogs or online content that generates at least 10 cents per view. The children could sue their parents for failing to do so.

    Children employed as content creators on platforms such as YouTube will also have at least 15% of their earnings deposited in a trust for when they turn 18. An existing state law has provided such protection to child actors since 1939 after a silent film-era child actor Jackie Coogan sued his parents for squandering his earnings.

    The new laws will take effect next year.

    The laws have the support from The Screen Actors Guild-American Federation of Television and Radio Artists, or, SAG-AFTRA, and singer Demi Lovato, a former child star who has spoken publicly about child performers abuse.

    “In order to build a better future for the next generation of child stars, we need to put protections in place for minors working in the digital space,” Lovato said in a statement. “I’m grateful to Governor Newsom for taking action with this update to the Coogan Law that will ensure children featured on social media are granted agency when they come of age and are properly compensated for the use of their name and likeness.”

    The new laws protecting child influencers are part of ongoing efforts by Newsom to address the mental health impacts of social media on children. Newsom earlier this month also signed a bill to curb student phone access at schools and ban social media platforms from knowingly providing addictive feeds to children without parental consent.

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  • Comic Relief US launches new Roblox game to help children build community virtually and in real life

    Comic Relief US launches new Roblox game to help children build community virtually and in real life

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    NEW YORK (AP) — The notion that online gaming could help players develop charitable habits seemed bold when the anti-poverty nonprofit Comic Relief US tested its own multiverse on the popular world-building app Roblox last year.

    As philanthropy wrestles with how to authentically engage new generations of digitally savvy donors, Comic Relief US CEO Alison Moore said it was “audacious” to design an experience that still maintained the “twinkle” of the organization that’s behind entertainment-driven fundraisers like Red Nose Day.

    But the launch was successful enough that Comic Relief US is expanding the game this year. Kids Relief’s second annual “Game to Change the World” campaign features a magical new Roblox world, an exclusive virtual concert and a partner in children’s television pioneer Nickelodeon.

    The goal is to instill empathy and raise money through a scavenger hunt across various realms, including SpongeBob SquarePants and Teenage Mutant Ninja Turtles. Users travel through portals to collect magical tools that will improve their surroundings. The net proceeds from in-game purchases will be donated.

    The community-building inherent in collaborative gaming is intended to subtly encourage off-screen acts of kindness.

    “It’s a little bit like me helping you, you helping me — all of us together. I love the idea of doing that in a game space,” Moore told The Associated Press. “It’s not meant to be a banner ad or a sign that says, ‘Do Good.’ It’s meant to be emblematic in the gameplay itself.”

    Nickelodeon is also promoting an instructional guide for kids to start their own local projects in real life such as backpack drives.

    Quests are delivered from wizards voiced by “Doctor Who” icon David Tennant, “Veep” star Tony Hale and “Never Have I Ever” actress Maitreyi Ramakrishnan. One wizard invites users to “embark on an enchanted journey to awaken the heart of your community.”

    The campaign will culminate in a weekend music festival on Roblox beginning Sept. 13 that features rock band Imagine Dragons, whose lead singer Dan Reynolds has focused his philanthropy on LGBTQ+ causes. Virtual acts also include Conan Gray, Poppy, d4vd and Alexander Stewart — all musical artists who got their big breaks on YouTube.

    Moore said she was “blown away” by last year’s numbers. The inaugural game has been played for over 32 billion minutes and one performance received the highest “concert thumbs up rating” ever on Roblox, according to Comic Relief US.

    Charitable donations are increasingly being made through gaming, according to business strategist Marcus Howard.

    The fit comes naturally, he said, considering that young people value experiences such as gaming over the material possessions that past generations might have bought at a charitable auction.

    “It just makes sense,” Howard said.

    But he finds that partners must overcome the negative stigma associated with online chat rooms. To its credit, Howard said, Roblox combines the creativity of popular competitor Fortnite with less “toxicity” because of its emphasis on cooperation over competition.

    Comic Relief US kept in mind the need to build a game that appeals to both children and their parents, Moore said.

    To navigate that tricky balance, the nonprofit has adopted a mindset that she credits Nickelodeon with originating: Include parents in the conversation but speak to their children.

    “Good games are good games,” Moore said. “Good games that make me feel good are good things.”

    ___

    Associated Press coverage of philanthropy and non-profits receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP’s philanthropy coverage, visit https://apnews.com/hub/philanthropy.

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  • Oh, babies. New Dr Seuss Babies merchandising line includes everything from board books to diapers

    Oh, babies. New Dr Seuss Babies merchandising line includes everything from board books to diapers

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    NEW YORK (AP) — The latest Dr. Seuss releases are designed for the very youngest audience.

    On Thursday, Dr. Seuss Enterprises and Random House Children’s Books announced the launch of Dr. Seuss Babies, which includes interactive board books, a video series called “Learn to Read” and even a line of diapers, onesies and feeding solutions.

    “Learn to Read” debuts Friday on the Dr. Seuss YouTube channel.

    “Babies and toddlers love to discover the world around them. Dr. Seuss Babies will help them explore, learn and laugh. Our hope is that this brand inspires and delights a new generation.” Susan Brandt, president and CEO of Dr. Seuss Enterprises, said in a statement.

    The first board book, “Happy First Birthday!”, will be published Jan. 7, 2025. Other board books scheduled for next year include “Mr. Brown On the Farm” and “Happy Grinchmas, Baby!” Three more books are expected in 2026.

    “We are so excited to bring this adorable new line of books to the youngest of Dr. Seuss fans,” Alice Jonaitis, executive editor of Dr. Seuss Publishing at Random House, said in a statement. “With the eye-catching new art style, the beloved characters have become even more baby-friendly and will help nurture a love of reading at the earliest age.”

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