Rhythm: Last News

Tom Sandoval may have tried to escape the heat with a cover band show in Pittsburgh over Memorial Day weekend, but Ariana Madix fans were there to call him out!

By most standards, the national anthem is not an easy song to sing. And some singers seem to struggle with it more than others. When it comes to "The Star-Spangled Banner," the moving song written by Francis Scott Key during the War of 1812 that became America's official anthem in 1931, most people want to hear a traditional performance.

There have been rumors flying around for a while now that Tom Sandoval and Raquel Leviss supposedly split up in recent weeks after their long-running Vanderpump Rules affair first surfaced in March.

Greg Taylor is adamant Celtic’s preparations for Inverness Caley Thistle will be exactly the same as they were for Real Madrid.

Alison Herman TV Critic SPOILER ALERT: This review contains spoilers from “With Open Eyes,” the series finale of HBO’s “,” now streaming on Max. “Succession” ends in a place it’s been countless times before: with Kendall Roy, alone and adrift by a body of water. “With Open Eyes,” the feature-length conclusion to the Roy family saga, has many such full-circle moments. Some series finales radically break from their show’s typical rhythm, flashing forward to show us the full span of the characters’ lives (“Six Feet Under”) or transforming into a different concept altogether (“Girls”). But despite its length, “With Open Eyes” is the distilled, concentrated essence of “Succession,” even as it builds to a decisive break between the Roys and the company that’s no longer theirs — a union that’s otherwise informed every second of the series’ events.

A trio of incredible music festivals will be taking over Southport's Victoria Park as part of the Seaside Weekender Festival this July.

Tina Turner‘s cause of death has been revealed one day after she passed away at age 83.

Tina Turner has passed away at the age of 83, after a lengthy battle with a long, unspecified illness.  The legendary singer died at her home in Kusnacht near Zurich, Switzerland. Her representatives announced the news, saying: 'With her the world loses a music legend and role model. 'Did Tina Turner have any children? Was the singer married prior to her death? Read on below for all you need to know about the legendary vocalist's family.   The 'Queen of Rock 'n' Roll' had two biological children.

Tina Turner rose to fame alongside her ex-husband, Ike Turner, in what seemed to be a musical match made in heaven. But it wasn’t until Turner fled the couple's hotel room in 1976 and later revealed the reality of their relationship in a bombshell 1981 interview that the world knew about the toxic marriage the musical icon had survived. "It was my relationship with Ike that made me most unhappy.

A loving mother. Tina Turner had four sons as she navigated life in the spotlight.

Ike Turner, however, was as bad a husband as he was good a songwriter. Violent, addictive and adulterous, he terrorised his wife until she walked out with only a young family and huge debts to show for 15 years at the top of the music industry. Through sheer willpower, however, Tina Turner reinvented herself as a rock singer and slowly rebuilt her career by giving her all, in everything from McDonald’s sales conferences to grimy cabaret venues.

You can hear it in Mikey Johnston's voice. He's far more relaxed than he ever was at Celtic. He sounds content, comfortable - and happy.

Catherine Bray A Jewish thirtysomething, Ann (Joanna Arnow) has never been in a conventional relationship. She engages in submissive sexual relationships with “sexfriends” and seems dimly uneasy that the most longstanding of these, with Allen (Scott Cohen), is now clocking in at around a decade, with neither one of them knowing very much about the other. She asks him about himself; it turns out he’s a Zionist. She rolls away from him. The anthropologist David Graeber has analyzed the harm caused to society and individuals by the existence of meaningless so-called “bullshit jobs.” Ann is employed in a classic example of one of these: the objectives are hazy, the prospects limited; she is given an award for having worked in her office for one year and has to tell them it’s actually been over three years — and perhaps even worse, she has to go to meetings and listen to Boomers say things like, “the iPhone was invented.”

Jazz Tangcay Artisans Editor Ari Aster‘s three-hour surrealist drama “Beau Is Afraid” marked a tonal shift from his nightmare-inducing films “Midsommar” and “Hereditary.” In the feature, which tackles inherited trauma and mommy issues, Joaquin Phoenix plays Beau, who finds himself on an Odyssean journey to return home after his mother’s untimely death. To score the film, Aster recruited “Midsommar” composer Bobby Krlic, but, unlike their last collaboration, creating the music of “Beau Is Afraid” was a “long and arduous process” as they worked to crack the sound of Beau’s journey. Here, the two discuss their collaboration and how one cue, “Suburban Dream,” helped unlock the film’s sonic landscape.

Warwick Thornton is a master maker of images. The first frames of The New Boy – a sweep of dusty ground; a flash of a small boy on a policeman’s back, strangling him; a pre-war telegraph pole, all drenched in the searing white midday light of the desert – create a collage of inland Australia, a world of open spaces. The boy is duly pulled off of the policeman, put in a sack and delivered in the dark to a mission; a nun opens the door to receive the delivery. At that point, the gallery of Thornton’s frame becomes a series of golden brown interiors that could have come from Rembrandt, except that they are peopled with Indigenous boys – Lost Boys, as Sister Eileen (Cate Blanchett) describes them to God – and the trio of adults who look after them. 

Owen Gleiberman Chief Film Critic “Indiana Jones and the Dial of Destiny” is a dutifully eager but ultimately rather joyless piece of nostalgic hokum. It’s the fifth installment in the “Indiana Jones” franchise, and though it has its quota of “relentless” action, it rarely tries to match (let alone top) the ingeniously staged kinetic bravura of “Raiders of the Lost Ark.” How could it? “Raiders,” whatever one thinks of it as a movie (I always found it a trace impersonal in its ’40s-action-serial-on-steroids excitement), is arguably the most influential blockbuster of the last 45 years, even more so than “Star Wars.” Back in 1977, George Lucas took us through the looking glass of what would become our all-fantasy-all-the-time movie culture. But it was Steven Spielberg, teaming up with Lucas in “Raiders,” who introduced the structural DNA of the one-thing-after-another, action-movie-as-endless-set-piece escapist machine. This means that “Indiana Jones and the Dial of Destiny” isn’t just coming after four previous “Indiana Jones” films. It’s coming after four decades of high-priced Hollywood action decadence, from the “Fast and Furious” series to the “Mission: Impossible” and “Terminator” and “Lara Croft” and “Transformers” and latter-day “Bond” films (not to mention the Marvel space operas), all of which owe a boundless debt to the aggro zap of the “Raiders” aesthetic.

Pat Saperstein Deputy Editor In its first acquisition at the Cannes Film Festival, Neon has picked up North American rights to director Pablo Berger’s animated feature “Robot Dreams” ahead of its world premiere in Cannes on Saturday. The Spanish filmmaker of “Blancanieves” based his first animated feature on the award-winning graphic novel by Sara Varon. “Robot Dreams” screens Saturday in the Special Screenings section of the festival. Neon previously scored three consecutive Palme d’Or wins with “Parasite,” “Titane” and “Triangle of Sadness.” “Robot Dreams” is described as a “universal exploration of the importance and fragility of friendship.” It follows DOG, a New York canine who decides to build himself a robot companion. They become inseparable, to the rhythm of 1980s New York city, until the sad summer night when DOG is forced to abandon ROBOT at the beach.

Neon has acquired North American rights to Robot Dreams, the first animated feature from Spanish filmmaker Pablo Berger (Blancanieves), which is poised to premiere in the Special Screenings section of the Cannes Film Festival this Saturday, May 20th.

Retirement is far from Martha Stewart’s mind.

Retirement is far from Martha Stewart’s mind.

It Ends With Us, the film adaptation of Colleen Hoover's best-selling novel of the same name, with a mop of tomato-red curls where her iconic blonde mermaid waves once lived. In the first photos from the set, Lively wears a pink T-shirt and fuchsia jacket layered over a brown dress. The Valentino logo bag in her hand, I'd have to imagine, is the actor's personal tote, and not belonging to Lily Bloom, the florist character she plays in the film.This isn't the first time that Lively has gone red for a role.