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Pete Davidson Returns To SNL For Weekend Update Ferry Sketch

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Pete Davidson Returns To SNL For Weekend Update Ferry Sketch








NBC screenshot

Pete Davidson is back at his old stomping grounds.

Davidson returned to “Saturday Night Live” this week, the show he called home for eight seasons as a cast member, to defend the “fiasco” that is his purchase of an old Staten Island Ferry boat with current “SNL”-er Colin Jost. Davidson stopped by Weekend Update to explain why he had to go do stand-up comedy in Saudi Arabia: “We’re losing millions on this ferry!” They wanted to make the boat less depressing, he said, so they gave it a new name: Titanic II. 

He did credit “SNL” head honcho Lorne Michaels for inspiring him to stick with the doomed ferry: “If Lorne Michaels has taught us anything, it’s that you never, ever give up… even when the time has come and Tina Fey is ready to take over.”

Davidson also mentioned he’s about to be a father, and he’s looking forward to parenthood so he can “give it all the energy and enthusiasm that I never had for this show.” Plus, he brought up the NYC mayoral race — or, as Pete calls it, “my least favorite kind of oral.” (Classic Pete!) He knows a lot of his fellow Staten Islanders were unhappy about Zohran Mamdani winning the election, so he offered his boat as a sanctuary if they have “too many warrants in New Jersey and not enough guns for Florida.” 

Press PLAY below to watch the sketch in full, and give this week’s “SNL” a grade in our poll: 






This story originally appeared on TVLine

Tech billionaires back startup pushing illegal gene-edited ‘designer babies’

NYPost
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Tech billionaires back startup pushing illegal gene-edited ‘designer babies’

A Silicon Valley startup backed by OpenAI’s Sam Altman and Coinbase’s Brian Armstrong is pursuing research that some fear could lead to the birth of a genetically engineered baby — a step that’s illegal under US law and banned in most countries, a report said.

The company, Preventive, says its goal is to end hereditary disease by editing human embryos before birth, a claim that has ignited fierce debate over safety, ethics and the specter of designer children, according to the Wall Street Journal.

Preventive, founded earlier this year by gene-editing scientist Lucas Harrington, has raised $30 million and set up headquarters in San Francisco, where it is conducting research on modifying embryos to prevent hereditary disease.

Coinbase CEO Brian Armstrong is an investor in a startup involved in researching the creation of genetically engineered babies. Getty Images for Vanity Fair

The company says its mission is to prove the technology can be made safe and transparent before any attempt to create a baby is made.

Altman and Armstrong are among the firm’s early investors, the Wall Street Journal reported.

Altman’s husband, Oliver Mulherin, said he led their investment, calling it an effort to help families avoid genetic illness.

Armstrong, who has publicly promoted embryo editing, posted that he was “excited” to back Preventive and argued it is far easier to correct a genetic defect in an embryo than to treat disease later in life.

But federal law prohibits the Food and Drug Administration from considering applications for human trials involving genetically edited embryos used to start pregnancies.

OpenAI CEO Sam Altman is also backing the Silicon Valley startup, Preventive. REUTERS

Harrington, who earned his doctorate under CRISPR pioneer Jennifer Doudna, denied that Preventive is preparing to implant an edited embryo or working with a couple to do so.

He said the company’s focus is preclinical research on whether editing embryos can be done safely.

“We are not trying to rush things,” Harrington told the Journal.

“We are committed to transparency in our research and will publish our findings, whether positive or negative.”

People familiar with Preventive’s operations told the Journal that the company had explored foreign jurisdictions, including the United Arab Emirates, where embryo editing might be permitted.

Harrington said work outside the US was being considered only because of regulatory restrictions, not to evade oversight.

The company has recruited advisers from reproductive medicine and genetics. Preventive’s website describes it as a public-benefit corporation, meaning it can legally prioritize social good alongside profit.

The company, Preventive, says its goal is to end hereditary disease by editing human embryos before birth. Shutterstock

Its charter defines that purpose as the “responsible advancement of genome editing technologies applied before birth to benefit humanity.”

The effort echoes the 2018 scandal in which Chinese scientist He Jiankui created the world’s first gene-edited babies, twins whose embryos had been altered to resist HIV.

He served three years in prison for illegal medical practices. Scientists say it remains unclear how the edits affected the children, who have not been publicly identified.

Harrington’s venture arrives as Silicon Valley money flows into reproductive genetics.

Federal law prohibits the Food and Drug Administration from considering applications for human trials involving genetically edited embryos used to start pregnancies. wimages – stock.adobe.com

Manhattan Genomics, co-founded by biotech entrepreneur Cathy Tie, and California-based Bootstrap Bio are also exploring embryo editing. Both have drawn scrutiny from bioethicists and regulators for discussing potential trials outside the US.

Critics warn that commercial embryo editing risks crossing into eugenics.

“They are either lying, delusional, or both,” Fyodor Urnov, a director at the Innovative Genomics Institute at UC Berkeley, told the Journal.

“These people armed with very poorly deployed sacks of cash are working on ‘baby improvement’.”

Supporters insist the goal is medical, not cosmetic.

Harrington and his advisers say early use cases would target devastating monogenic disorders such as cystic fibrosis or sickle cell disease, in which parents who both carry the same gene mutation have no chance of conceiving a healthy child through traditional IVF.

The Post has sought comment from Preventive, Altman and Armstrong.



This story originally appeared on NYPost

Financial cuts by GOP could cause irreversible damage to NYC

NYPost
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Financial cuts by GOP could cause irreversible damage to NYC


As awful as the mayoral election outcome was for sensible New Yorkers, misguided Washington Republicans plan to use the results as a club to further punish the city.

If they succeed in hitting Gotham with enormous financial penalties for electing socialist radical Zohran Mamdani, the GOP wackos will end up penalizing all 8 million New Yorkers, including the 1 million who rejected Mamdani to vote for other candidates.

The efforts also could turn Mamdani into a martyr, which would boost his popularity and inspire far-leftist copycat candidates across America.

Another unintended consequence of the daffy congressional effort could be the death of the election chances of one of their own.

Upstate Republican firebrand Rep. Elise Stefanik announced Friday that she will run against Gov. Hochul next year.

Stefanik, the star of GOP efforts to hold college presidents responsible for the antisemitism on their campuses, is widely seen as a credible candidate.

A recent poll showed her holding a slight edge against the incumbent, and she burst out of the starting gate by calling Hochul “the worst governor in America.”

But Stefanik’s bid could be damaged by an attack onby her party against New York.

It would give Hochul a rallying issue that would likely resonate with Mamdani’s legions of hard-core radicals, many of whom came to view Hochul more favorably after she endorsed Mamdani in September.

Friendly fire for GOP

Historic imbalances also are in play, with Republicans failing to win a statewide race since 2022, when former governor George Pataki captured his third term.

GOP candidate Lee Zeldin gave Hochul a stiff challenge in 2022, but a large turnout of city Dems tipped the scales in her favor and she won by 5 points.

Moreover, the congressional bill as written is so broad and harsh that the vast majority of New Yorkers would almost certainly reject it and hold all Republicans accountable.

Introduced by Georgia Representative Buddy Carter, it says that, “during any period in which Zohran Mamdani is mayor of New York, New York . . . any unobligated Federal funds available” for the city “are hereby rescinded.”

It adds that “no Federal funds may be obligated or expended for any purpose to New York, New York.”

He calls the measure the “Moving American Money Distant from Anti-National Interests Act,” or the “MAMDANI Act.”

Carter added an aside to reporters that “If New Yorkers want communism, we should let them have their wish and not artificially prop them up with our successful capitalist system.”

It’s all too clever by half.

Besides Stefanik, another New Yorker not laughing is Rep. Nicole Malliotakis, the only GOP House member from the five boroughs.

She told Fox that “These attempts by those within my party to score cheap political points by going after New York City are not going to be met lightly. We’re going to fight back.”

Rep. Buddy Carter speaks during a Republican political event about the One Big Beautiful Bill at ALTA Refrigeration in Peachtree City, Georgia, U.S., August 21, 2025. REUTERS

She added that, “my constituents did not vote for Zohran Mamdani,” but yet “you have people in Washington wanting to punish the whole city.”

Even if the bill were to make it through the House, it has zero chances of Senate approval, where the filibuster rule requires 60 votes for passage.

Still, the mere introduction of the measure and debate about it gives Dems an early talking point against President Trump and Stefanik even before Mamdani takes office.

The national mood also matters, and it is being roiled by lopsided Dem wins in governors’ races in Virginia and New Jersey.

The results are fueling analyses that Trump’s populist base is shrinking amid growing discontent over rising prices.


U.S. Rep. Elise Stefanik testifying before a Senate Foreign Relations Committee confirmation hearing.
Rep. Elise Stefanik testifies before a Senate Foreign Relations Committee confirmation hearing on Capitol Hill in Washington, U.S., January 21, 2025. REUTERS

A new Harris poll finds that many Americans are becoming pessimistic about the economy.

When asked how much their regular monthly household costs have increased since last year, 74% of respondents said the spike was at least $100.

The numbers are a worrying sign for the midterms because the GOP House margin is so tiny.

Voters’ approval of California’s outlandishly gerrymandered district maps could end up flipping five red seats to blue.

A House controlled by Dems would, even without Nancy Pelosi, almost certainly return to its impeachment obsession, and Trump could find himself seriously hobbled for the final two years of his term.

Although I favor the president’s plan to seal the border and deport as many as possible of the 10 million or so illegal immigrants Joe Biden let into America, the friction of the round ups, amplified by left-leaning media, has the potential to become a negative for the president and his party next year.

Indeed, Hochul believes she can boost her campaign by running against Trump as much as her actual opponent.

To that end, she is crafting an extensive plan to stop him from sending the National Guard or active duty troops to the five boroughs, as he has done elsewhere.

The governor has set up “a virtual war room and convened a series of conversations with law enforcement, business officials and activist groups to stop or at least mitigate any federal incursion,” Politico reported Friday.

The report followed a recent incident on Canal Street in lower Manhattan, where ICE agents, along with law enforcement officers wearing vests identifying them as being from the DEA and FBI, took at least nine people into custody on suspicions of being in the nation illegally and selling counterfeit merchandise.

Officials said all nine are from Africa and at least some have long criminal histories, including charges of robbery, burglary and assaulting law enforcement.

CBS reported that five protesters were also arrested on charges that include assaulting law enforcement and obstruction.

Proxy war

The fact that the NYPD was given a heads-up adds to the intrigue about the future role of the police in the sanctuary city.

A mayor Mamdani, who effectively supports open borders and is sickeningly prejudiced against the NYPD, would almost certainly forbid any police role in federal deportation actions.

The net result is that immigration raids in the city and state could politically damage Trump and now, by extension, Stefanik, too.

Because she is closely aligned with the president and has voted with him 100 percent of the time, any move he makes that is unpopular in New York can backfire on her.

Naturally, Hochul blames Trump for the government shutdown.

And an early exchange of accusations between Hochul and her challenger signals other key arguments each side is planning.

An aide to the governor declared that “Sellout Stefanik is Donald Trump’s number one cheerleader in Congress” and “his right-hand woman in his war on New York: gutting health care, jacking up costs with expensive tariffs.”

In response, Stefanik gave as good as she got, saying on Fox News that “When New Yorkers were looking for strong leadership from a governor not to bend the knee to Zohran Mamdani, Kathy Hochul bent the knee.”

There you have it.

The election is a year away, but already the battle lines have been drawn.



This story originally appeared on NYPost

Is the Government Still Shut Down? How Long it Will Last – Hollywood Life

Hollywood Life
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Is the Government Still Shut Down? How Long it Will Last – Hollywood Life


Image Credit: Getty Images

The U.S. government shutdown, which began at 12:01 a.m. on October 1, 2025, has now entered day 39, with Congress still deadlocked over a funding deal to reopen federal operations. The impasse stems from deep political divisions between Republicans and Democrats, especially over healthcare funding. Democrats insist that any funding deal must include extensions of health insurance subsidies, while Republicans argue those negotiations should be handled separately.

As the shutdown drags into its sixth week, frustration is mounting nationwide — and the timing couldn’t be worse. With Thanksgiving and the holiday travel rush just weeks away, the disruption is beginning to hit travelers hard. More than 670,000 federal employees have been furloughed and roughly 730,000 continue working without pay. Many national parks, museums, and public visitor centers are closed or operating with minimal staff. Key agencies such as the National Nuclear Security Administration (NNSA), which manages the U.S. nuclear weapons stockpile, are furloughing up to 80% of their staff. The economic toll is staggering. Analysts estimate the shutdown is costing the U.S. economy up to $15 billion per week in lost output, per Reuters.

With Senate negotiations repeatedly failing and both parties refusing to budge, federal services, workers, and millions of Americans continue to face mounting uncertainty. Find out more about what caused the shutdown, what services it affects, and how long it may last below.

Why Did the U.S. Government Shut Down?

The shutdown began at 12:01 a.m. on October 1, 2025, after Congress failed to pass a new funding bill for the fiscal year. The biggest sticking point has been healthcare subsidies under the Affordable Care Act (ACA). Democrats have demanded that the funding package include an extension of these subsidies, while Republicans — who control both chambers — insist that healthcare should be addressed separately from government spending. Disputes also arose over cuts to foreign aid and public broadcasting. With neither side willing to compromise, the deadline passed and the government was forced into a shutdown.

WASHINGTON, DC - SEPTEMBER 30: House Minority Leader Hakeem Jeffries (D-NY), joins fellow House Democratic leaders and members to rally on the House Steps of the U.S. Capitol on September 30, 2025 in Washington, DC. House Democrats demanded that Congressional Republicans negotiate with them on spending to avoid a federal government shutdown that is set to begin at midnight if no deal is struck. (Photo by Chip Somodevilla/Getty Images)
(Photo by Chip Somodevilla/Getty Images)

How Long Will the Government Be Shut Down?

WASHINGTON, DC - OCTOBER 01: Speaker of the House Mike Johnson (R-LA) (C) leads a news conference with (L-R) U.S. Rep. Lisa McClain (R-MI), House Majority Whip Tom Emmer (R-MN), Senate Majority Whip John Barrasso (R-WY), Senate Majority Leader John Thune (R-SD), House Majority Leader Steve Scalise (R-LA), U.S. Sen. Tom Cotton (R-AR), and U.S. Sen. Shelley Moore Capito (R-WV) on the Upper West Terrace of U.S. Capitol Building on October 1, 2025 in Washington, DC. The government shut down early Wednesday after Congress failed to reach a funding deal. (Photo by Andrew Harnik/Getty Images)
(Photo by Andrew Harnik/Getty Images)

There is no set timeline. The shutdown will continue until Congress can agree on a funding resolution and the president signs it into law. Federal courts have announced they can continue operating, but after October 17, services could slow dramatically. Economists warn that each week of closure could cost the U.S. about $15 billion in GDP losses, putting pressure on lawmakers to resolve the impasse. Historically, shutdowns have lasted anywhere from a single day to more than a month, with the record set at 35 days during 2018–2019.

On November 7, the Senate had a chance to come to an agreement, but Republicans and Democrats were still at a standstill at the end of the day.

What Is the Longest Government Shutdown in U.S. History?

The US Capitol is seen lit up hours before a partial government shutdown is set to take effect in Washington, DC, on September 30, 2025. The US government barreled towards its first shutdown in six years Tuesday, with funding expiring at midnight after Democrats fought a war of words with Donald Trump and senators rejected a last-ditch bid to keep the lights on. (Photo by ANDREW CABALLERO-REYNOLDS / AFP)
(Photo by ANDREW CABALLERO-REYNOLDS / AFP)

Until now, the longest government shutdown in American history lasted 35 days, from December 22, 2018, to January 25, 2019, during President Donald Trump’s administration. The impasse centered on border wall funding, furloughing about 800,000 federal workers and disrupting critical government operations across the country.

However, the current 2025 shutdown has now surpassed that record, entering day 39 as Congress remains at a standstill over healthcare and spending priorities.



This story originally appeared on Hollywoodlife

Quaint UK town with picturesque view that tourists claim is ‘even better in the winter’ | Travel News | Travel

Express.co.uk
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Quaint UK town with picturesque view that tourists claim is ‘even better in the winter’ | Travel News | Travel


A stunning seaside town with picturesque views over one of Cornwall’s most recognisable landmarks is “even better in the winter”, according to tourists. Marzion has a population of just 1,500 people, but it’s better known as one of the must-see sites on a trip to the Cornish coast, thanks to its proximity to St Michael’s Mount. 

The town welcomes over 400,000 British and international tourists each year, with holidaymakers eager to catch a glimpse of the famous pilgrimage site. As well as the famous St Michael’s Mount, Marazion is a market town with art galleries, cafes, seaside stores and a sandy beach. Although Marazion is an ideal destination for a summer day, visitors claim that heading to the town over the winter may be the best bet. 

TripAdvisor user @SeagreenTangerine said: “If you love walking, love photography, come down at low tide and enjoy vast swathes of sandy trecking. If you walk on the top, the Promenade, it takes you right into Penzance. You can catch a bus home! Lovely vistas. Parking is free in winter! So it’s an even better time to visit.”

@lwhiting2017 posted: “One of my fav places in the world – and even better out of season. The large sandy beach is safe for swimming, the rocky beach is dog-friendly and a great spot for rock pooling.”

@Bobalobajob added: “There are beaches and then there are beaches….Marazion is just beautiful….the scene is set with the majesty of St Michael’s Mount adding structure and historical mystery to the landscape.

“Get up early and go for the winter sunrise, it is truly magical, the sun emerges from your left as you look towards the mount and gently colours the side of the mount, slowly glances off the incoming (or outgoing) tide, it truly is a beautiful backdrop.”

Access to St Michael’s Mount is free for everyone between 14 September and 30 April, meaning visitors can access the harbour, village, shops and cafe for no charge. 

Most visitors will need a ticket to access during the summer, with non-National Trust members set to pay. However, a Local Pass is available for permanent residents of West Penwith.



This story originally appeared on Express.co.uk

‘Christy’ is Sydney Sweeney’s Third Box Office Flop of 2025 Following ‘Eden’ and ‘Americana’

MovieWeb
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‘Christy’ is Sydney Sweeney’s Third Box Office Flop of 2025 Following ‘Eden’ and ‘Americana’


Sydney Sweeney seemed to be soaring last year, with movies such as Anyone But You and Immaculate scoring strong reviews and decent box office results. However, her recent run has been anything but successful in financial terms, as this weekend’s release of Christy is expected to be the actress’ third movie to make less than $2 million on its opening weekend.

Christy is a biopic of female boxing champion Christy Martin, which also stars Ben Foster, Katy O’Brian, Jess Gabor, Ethan Embry, and Merritt Wever. The film has floundered with critics, earning a 66% score on Rotten Tomatoes despite receiving Oscar buzz months before its release. However, audiences have been incredibly positive about Sweeney’s “phenomenal” performance…there just have not been an awful lot of people actually going to see the movie.

The main issue with Christy is that it is not a movie with mass appeal, and that means there will be a lot of people happy to skip the theater trip and wait for the film to arrive on streaming in the next few months. That is the great problem facing cinemas right now, with movies like Christy not having the kind of pull required to get audiences into cinemas when streaming releases come so quickly afterward.

‘Christy’ Is Another Knockout Blow to Sweeney’s Box Office Charms

Black Bear

In 2023, Sydney Sweeney appeared to be ready to really break out in the industry. While she had appeared in big TV shows like Euphoria, her movie reach had been low-key. However, the release of her frisky comedy Anyone But You landed a huge $218.9 million haul. That was followed by the ultimately disappointing Madame Web – although it is hard for anyone to blame the disastrous box office of Sony’s Marvel movie on Sweeney – and the more impressive horror movie Immaculate in 2024. The latter movie opened with a $5 million weekend, and grossed $35 million on the back of a $9 million budget.

However, after this, her next theatrical releases, Americana and Ron Howard’s Eden became box office disasters. Americana, which also had a $9 million budget, made less than $500,000 at the box office. If that was not bad enough, Eden followed almost immediately and turned its $35 million budget into a $2.5 million return. Now, Christy has made it three in a row, with the film expected to make just $1.25 million over the weekend.

Sweeney’s year has also been marred by controversy over her collaboration with American Eagle jeans, something that in the last week has resurfaced when the actress ducked questions about the outrage over the ad campaign. Then there was her bathwater-infused soap release, which just brought more negativity to the actress online.

Sweeney is now looking to round out the year with a box office win when The Housemaid is released in December. Starring Amanda Seyfried and Brandon Sklenar, the Paul Feig movie has one major hurdle in that it is going up against James Cameron’s mighty Avatar: Fire and Ash. It is not hard to see how that battle is going to end, but hopefully the movie can give audiences an alternative they can elevate beyond Sweeney’s recent movies and stop her doing a connect four of box office failures.


01820868_poster_w780.jpg


Release Date

November 7, 2025

Runtime

135 minutes

Director

David Michôd

Producers

Brent Stiefel, Kerry Kohansky-Roberts, Sydney Sweeney, Teddy Schwarzman, John Friedberg, Michael Heimler, Justin Lothrop, Brad Zimmerman, David Levine





This story originally appeared on Movieweb

Studio Ghibli’s Porco Rosso Is More Important Now Than Ever

ScreenRant
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Studio Ghibli’s Porco Rosso Is More Important Now Than Ever


Studio Ghibli is one of the most prominent anime studios in the world, known for its beautiful hand-drawn animation, moving stories, and unforgettable characters. Among its expansive catalog are lesser-known works that remain underrated masterpieces, waiting to be discovered. One such title is Porco Rosso, released in 1992 under the direction of Hayao Miyazaki.

Despite its release over three decades ago, Porco Rosso has become more meaningful and relevant now than ever before. While the film stays true to Ghibli’s signature style and themes, it stands out due to its unparalleled exploration of a disillusioned man’s struggle to reconcile his past, identity, and purpose in a post-war era.

Porco Rosso Is Studio Ghibli’s Most Underrated Masterpiece

Porco Rosso is set in the Adriatic Sea during the late 1920s and early 1930s, a time when Europe was still reeling from the First World War and fascism was rising in Italy. With political tensions rising, economic hardship, and aviation advancing rapidly, Porco, a former ace pilot known as Marco Pagot, has retreated into self-imposed exile.

The film balances this historical weight with moments of Ghibli’s signature sense of adventure and whimsical elements, most notably through Porco’s appearance as an anthropomorphic pig. Porco Rosso is one of Studio Ghibli’s more mature films, centering on a complex protagonist with heavy themes and political undertones, which sets it apart from other films by the studio.

Working as a freelance bounty hunter, Porco takes on countless air pirates until he is challenged to a race by the sky pirates’ American ace, Donald Curtis. With the help of his longtime friend, Gina, and a young, spirited mechanic, Fio, he repairs his plane and prepares for an aerial showdown that will test more than just his flying skills.

With a rich setting and backdrop, Miyazaki’s film is immensely introspective and reflective. While coming across as playful at times, it also takes time to confront Porco’s disillusionment, pride, and ideals in a world that is imperfect and constantly evolving. The story is full of symbolism, making it one of the studio’s most rewarding and memorable creations to date.

Porco Rosso’s Themes Are Timeless and Universal

With Porco Rosso set in Europe between World War I and World War II, a time of political instability and rising fascism, the film captures something that few anime films do. Italy, especially, was reshaping itself after the devastation of the First World War, affecting countless lives and leading Porco, a once-celebrated fighter ace, to seek solitude.

The film doesn’t shy away from his past as an aviation pilot, embracing it and showing the beauty of flight without losing the weight of Porco’s past and the historical time frame. The consequences of war are central to the story, told through flashbacks and dreams of Porco’s lost friends that slowly reveal why he chose to impose his own exile.

Porco’s appearance as a pig serves as a visual metaphor for this disillusionment and desire to exist outside a corrupt system.

Porco’s personal trauma and survivors’ guilt make him reluctant to fully engage with those around him, leading to a deeper sense of alienation surrounding his isolation. Yet, the connections he maintains and forges throughout the film, particularly with Fio, slowly draw him back out, while Gina remains a hopeful link to his humanity.

By exploring the fear of losing oneself to past trauma and the struggle and desire for connection, Porco Rosso’s themes remain both timeless and universal, speaking to audiences across generations. Along with the film’s balance of humor, adventure, and melancholy, the narrative effectively creates an experience that viewers can’t forget.

Studio Ghibli’s Film Is a Rejection of Authoritarianism

Ghibli Porco Rosso

During Porco Rosso’s time period, the shadow of Mussolini’s Italy looms over the film without overshadowing the central narrative surrounding Porco. However, the rise of fascism remains a constant underlying presence in the film, shown through Porco’s rejection of rejoining the air force and his desire to maintain his personal freedom.

Paired with Porco’s disillusionment with nationalism and the symbolism beneath his pig-like appearance, Miyazaki clearly speaks against authoritarian systems and fascist regimes through the protagonist. Despite Porco’s past as a former ace, he chooses independence over ambition and recognition within the regime, valuing his personal ethics over blind nationalist loyalty.

“I’d rather be a pig than a fascist.”

-Porco Rosso/Marco Pagot

Porco’s appearance as a pig serves as a visual metaphor for this disillusionment and desire to exist outside a corrupt system. He consciously chooses to reject any participation in injustice, and his self-imposed exile is proof of his commitment to these ideals. His stance against the growing fascism in Italy isn’t performative but rooted in his ethical and moral code.

Despite airing over 30 years ago and taking place nearly 100 years in the past, these themes remain relevant and are talked about today. Porco Rosso reminds viewers that standing against oppressive systems takes bravery and conviction, and that disengagement can sometimes be a moral act if it means stepping away from corrupt regimes.

Porco Rosso’s Legacy Remains Enduring Even Decades Later

porco rosso anime 1992
porco rosso anime 1992

Porco Rosso’s exploration of moral integrity, resistance to authoritarian pressure, and the lingering cost of war reflects Hayao Miyazaki’s anti-war, anti-nationalism, and anti-fascism ideology. Porco’s insistence on living according to his own moral code, even when the world around him pressures him to conform, remains increasingly relevant in modern society.

Porco’s experiences as a World War I fighter ace reveal the true cost of conflict and the hollowness of nationalist glory. By having Porco stand apart from other characters, visually and physically, who embrace fame, ambition, or even aggression, the film makes clear that Porco’s strength stems from his refusal to participate in systems that prioritize narrow ideologies over humanity.

Porco Rosso remains an enduring Ghibli film due to its universal themes, historical backdrop, and profound exploration of war, political pressure, and morality. The film encourages audiences to consider the consequences of both action and inaction, while also showing that moral integrity can outlast broken ideologies, whether they are authoritarianism or the absurdity of war.

Miyazaki’s 1992 film remains one of Studio Ghibli’s most underrated masterpieces ever made, even over 30 years later. Porco Rosso is a film that everyone must watch at least once in their lifetime for its powerful themes, complex protagonist, and beautiful, symbolic narrative.


Porco Rosso (1992) - Poster


Release Date

July 18, 1992

Runtime

93 minutes

  • Cast Placeholder Image

  • Cast Placeholder Image




This story originally appeared on Screenrant

2026 Grammy nominations list: Kendrick Lamar, Lady Gaga lead nominees

LATimes
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2026 Grammy nominations list: Kendrick Lamar, Lady Gaga lead nominees


Abracadabra! The nominees for the 68th Grammy Awards are in.

After sweeping last year’s Grammys with his explosive diss track, Kendrick Lamar led the 2026 pack with nine nominations. Trailing just behind the “Not Like Us” hitmaker was Mother Monster herself, Lady Gaga, with seven nominations, the same number earned by producers Cirkut and Jack Antonoff.

Projected frontrunners Bad Bunny and Sabrina Carpenter held their own with six nominations each, tying best new artist nominee Leon Thomas and Grammy-winning producer Serban Ghenea, who had his hands on several entries in the record and album of the year categories.

The Grammy Awards will return to L.A.’s Crypto.com Arena on Feb. 1, and will broadcast live on CBS and stream on Paramount+ starting at 5 p.m. PT.

Last year’s ceremony saw Beyoncé finally collect her album of the year trophy with “Cowboy Carter.” Lamar was the top earner, with five wins including song and record of the year for “Not Like Us.” Plus, Chappell Roan received a physical token of what her fans already knew: She was the hottest new act on the block. Now, she’s back for more with the Cranberries-esque “The Subway,” but as usual, the competition is fierce.

Record of the year

“DtMF” — Bad Bunny
“Manchild” — Sabrina Carpenter
“Anxiety” — Doechii
“Wildflower” — Billie Eilish
“Abracadabra” — Lady Gaga
“Luther” — Kendrick Lamar With SZA
“The Subway” — Chappell Roan
“Apt.” — Rosé, Bruno Mars

Album of the year

“Debí Tirar Más Fotos” — Bad Bunny
“Swag” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“Let God Sort Em Out” — Clipse, Pusha T and Malice
“Mayhem” — Lady Gaga
“GNX” — Kendrick Lamar
“Mutt” — Leon Thomas
“Chromakopia” — Tyler, the Creator

Song of the year

“Abracadabra” — Lady Gaga, Henry Walter and Andrew Watt, songwriters (Lady Gaga)
“Anxiety” — Jaylah Hickmon, songwriter (Doechii)
“Apt.” — Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas and Henry Walter, songwriters (Rosé, Bruno Mars)
“DtMF” — Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry and Roberto José Rosado Torres, songwriters (Bad Bunny)
“Golden [From “KPop Demon Hunters”]” — Ejae and Mark Sonnenblick, songwriters (Huntr/x: Ejae, Audrey Nuna and Rei Ami)
“Luther” — Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears and Kamasi Washington, songwriters (Kendrick Lamar With SZA)
“Manchild” — Amy Allen, Jack Antonoff and Sabrina Carpenter, songwriters (Sabrina Carpenter)
“Wildflower” — Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)

Best new artist

Olivia Dean
Katseye
The Marías
Addison Rae
Sombr
Leon Thomas
Alex Warren
Lola Young

Producer of the year, nonclassical

Dan Auerbach
Cirkut
Dijon
Blake Mills
Sounwave

Songwriter of the year, nonclassical

Amy Allen
Edgar Barrera
Jessie Jo Dillon
Tobias Jesso Jr.
Laura Veltz

Best pop solo performance

“Daisies” — Justin Bieber
“Manchild” — Sabrina Carpenter
“Disease” — Lady Gaga
“The Subway” — Chappell Roan
“Messy” — Lola Young

Best pop duo/group performance

“Defying Gravity” — Cynthia Erivo and Ariana Grande
“Golden [From “KPop Demon Hunters”]” — Huntr/x: Ejae, Audrey Nuna and Rei Ami
“Gabriela” — Katseye
“Apt.” — Rosé, Bruno Mars
“30 for 30” — SZA With Kendrick Lamar

Best pop vocal album

“Swag” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“Something Beautiful” — Miley Cyrus
“Mayhem” — Lady Gaga
“I’ve Tried Everything but Therapy (Part 2)” — Teddy Swims

Best dance/electronic recording

“No Cap” — Disclosure and Anderson .Paak
“Victory Lap” — Fred Again.., Skepta and Plaqueboymax
“Space Invader” — Kaytranada
“Voltage” — Skrillex
“End of Summer” — Tame Impala

Best dance pop recording

“Bluest Flame” — Selena Gomez and Benny Blanco
“Abracadabra” — Lady Gaga
“Midnight Sun” — Zara Larsson
“Just Keep Watching (From “F1 The Movie”)” — Tate McRae
“Illegal” — PinkPantheress

Best dance/electronic album

“Eusexua” — FKA twigs
“Ten Days” — Fred Again..
“Fancy That” — PinkPantheress
“Inhale / Exhale” — Rüfüs Du Sol
“F— U Skrillex You Think Ur Andy Warhol but Ur Not!!

Best remixed recording

“Abracadabra (Gesaffelstein Remix)” — Gesaffelstein, remixer (Lady Gaga and Gesaffelstein)
“Don’t Forget About Us” — Kaytranada, remixer (Mariah Carey and Kaytranada)
“A Dreams a Dream – Ron Trent Remix” — Ron Trent, remixer (Soul II Soul)
“Galvanize” — Chris Lake, remixer (The Chemical Brothers and Chris Lake)
“Golden – David Guetta Rem/x” — David Guetta, remixer (Huntr/x: Ejae, Audrey Nuna and Rei Ami)

Best rock performance

“U Should Not Be Doing That” — Amyl and the Sniffers
“The Emptiness Machine” — Linkin Park
“Never Enough” — Turnstile
“Mirtazapine” — Hayley Williams
“Changes (Live From Villa Park) Back to the Beginning” — Yungblud Featuring Nuno Bettencourt, Frank Bello, Adam Wakeman and II

“Night Terror” — Dream Theater
“Lachryma” — Ghost
“Emergence” — Sleep Token
“Soft Spine” — Spiritbox
“Birds” — Turnstile

Best rock song

“As Alive as You Need Me to Be” — Trent Reznor and Atticus Ross, songwriters (Nine Inch Nails)
“Caramel” — Vessel1 and Vessel2, songwriters (Sleep Token)
“Glum” — Daniel James and Hayley Williams, songwriters (Hayley Williams)
“Never Enough” — Daniel Fang, Franz Lyons, Pat McCrory, Meg Mills and Brendan Yates, songwriters (Turnstile)
“Zombie” — Dominic Harrison and Matt Schwartz, songwriters (Yungblud)

Best rock album

“Private Music” — Deftones
“I Quit” — Haim
“From Zero” — Linkin Park
“Never Enough” — Turnstile
“Idols” — Yungblud

Best alternative music performance

“Everything Is Peaceful Love” — Bon Iver
“Alone” — The Cure
“Seein’ Stars” — Turnstile
“Mangetout” — Wet Leg
“Parachute” — Hayley Williams

Best alternative music album

“Sable, Fable” — Bon Iver
“Songs of a Lost World” — The Cure
“Don’t Tap the Glass” — Tyler, the Creator
“Moisturizer” — Wet Leg
“Ego Death at a Bachelorette Party” — Hayley Williams

Best R&B performance

“Yukon” — Justin Bieber
“It Depends” — Chris Brown Featuring Bryson Tiller
“Folded” — Kehlani
“Mutt (Live From NPR’s Tiny Desk)” — Leon Thomas
“Heart of a Woman” — Summer Walker

Best traditional R&B performance

“Here We Are” — Durand Bernarr
“Uptown” — Lalah Hathaway
“Love You Too” — Ledisi
“Crybaby” — SZA
“Vibes Don’t Lie” — Leon Thomas

Best R&B song

“Folded” — Darius Dixson, Andre Harris, Kehlani Parrish, Donovan Knight, Don Mills, Khris Riddick-Tynes and Dawit Kamal Wilson, songwriters (Kehlani)
“Heart of a Woman” — David Bishop and Summer Walker, songwriters (Summer Walker)
“It Depends” — Nico Baran, Chris Brown, Ant Clemons, Ephrem Lopez Jr., Ryan Press, Bryson Tiller, Elliott Trent and Dewain Whitmore Jr., songwriters (Chris Brown Featuring Bryson Tiller)
“Overqualified” — James John Abrahart Jr. and Durand Bernarr, songwriters (Durand Bernarr)
“Yes It Is” — Jariuce Banks, Lazaro Andres Camejo, Mike Hector, Peter Lee Johnson, Rodney Jones Jr., Ali Prawl and Leon Thomas, songwriters (Leon Thomas)

Best progressive R&B album

“Bloom” — Durand Bernarr
“Adjust Brightness” — Bilal
“Love on Digital” — Destin Conrad
“Access All Areas” — Flo
“Come as You Are” — Terrace Martin and Kenyon Dixon

Best R&B album

“Beloved” — Giveon
“Why Not More?” — Coco Jones
“The Crown” — Ledisi
“Escape Room” — Teyana Taylor
“Mutt” — Leon Thomas

Best rap performance

“Outside” — Cardi B
“Chains & Whips” — Clipse, Pusha T and Malice Featuring Kendrick Lamar and Pharrell Williams
“Anxiety” — Doechii
“TV Off” — Kendrick Lamar Featuring Lefty Gunplay
“Darling, I” — Tyler, the Creator Featuring Teezo Touchdown

Best melodic rap performance

“Proud of Me” — Fridayy Featuring Meek Mill
“Wholeheartedly” — JID Featuring Ty Dolla Sign and 6Lack
“Luther” — Kendrick Lamar With SZA
“WeMaj” — Terrace Martin and Kenyon Dixon Featuring Rapsody
“Somebody Loves Me” — PartyNextDoor and Drake

Best rap song

“Anxiety” — Jaylah Hickmon, songwriter (Doechii)
“The Birds Don’t Sing” — Gene Elliott Thornton Jr., Terrence Thornton, Pharrell Williams and Stevie Wonder, songwriters (Clipse, Pusha T and Malice Featuring John Legend and Voices of Fire)
“Sticky” — Aaron Bolton, Dudley Alexander Duverne, Gloria Woods, Dwayne Carter Jr., Janae Wherry, Tyler Okonma and Rex Zamor, songwriters (Tyler, the Creator Featuring Glorilla, Sexyy Red and Lil Wayne)
“TGIF” — Lucas Alegria, Dillon Brophy, Yakki Davis, Gloria Woods, Jess Jackson, Ronnie Jackson, Mario Mims and Jorge M. Taveras, songwriters (Glorilla)
“TV Off” — Jack Antonoff, Larry Jayy, Kendrick Lamar, Dijon McFarlane, Sean Momberger, Mark Anthony Spears and Kamasi Washington, songwriters (Kendrick Lamar Featuring Lefty Gunplay)

Best rap album

“Let God Sort Em Out” — Clipse, Pusha T and Malice
“Glorious” — Glorilla
“God Does Like Ugly” — JID
“GNX” — Kendrick Lamar
“Chromakopia” — Tyler, the Creator

Best spoken word poetry album

“A Hurricane in Heels: Healed People Don’t Act Like That (Partially Recorded Live @City Winery & Other Places)” — Queen Sheba
“Black Shaman” — Marc Marcel
“Pages” — Omari Hardwick and Anthony Hamilton
“Saul Williams Meets Carlos Niño & Friends at Treepeople” — Saul Williams, Carlos Niño and Friends
“Words For Days Vol. 1” — Mad Skillz

Best jazz performance

“Noble Rise” — Lakecia Benjamin Featuring Immanuel Wilkins and Mark Whitfield
“Windows – Live” — Chick Corea, Christian McBride and Brian Blade
“Peace of Mind / Dreams Come True” — Samara Joy
“Four” — Michael Mayo
“All Stars Lead to You – Live” — Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold and Rachel Eckroth

Best jazz vocal album

“Elemental” — Dee Dee Bridgewater and Bill Charlap
“We Insist 2025!” — Terri Lyne Carrington and Christie Dashiell
“Portrait” — Samara Joy
“Fly” — Michael Mayo
“Live at Vic’s Las Vegas” — Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold and Rachel Eckroth

Best jazz instrumental album

“Trilogy 3 (Live)” — Chick Corea, Christian McBride and Brian Blade
“Southern Nights” — Sullivan Fortner Featuring Peter Washington and Marcus Gilmore
“Belonging” — Branford Marsalis Quartet
“Spirit Fall” — John Patitucci Featuring Chris Potter and Brian Blade
“Fasten Up” — Yellowjackets

Best large jazz ensemble album

“Orchestrator Emulator” — The 8-Bit Big Band
“Without Further Ado, Vol 1” — Christian McBride Big Band
“Lumen” — Danilo Pérez and Bohuslän Big Band
“Basie Rocks!” — Deborah Silver and the Count Basie Orchestra
“Lights on a Satellite” — Sun Ra Arkestra
“Some Days Are Better: The Lost Scores” — Kenny Wheeler Legacy Featuring the Royal Academy of Music Jazz Orchestra and Frost Jazz Orchestra

Best Latin jazz album

“La Fleur de Cayenne” — Paquito D’Rivera and Madrid-New York Connection Band
“The Original Influencers: Dizzy, Chano & Chico” — Arturo O’Farrill and the Afro Latin Jazz Orchestra Featuring Pedrito Martinez, Daymé Arocena, Jon Faddis, Donald Harrison and Melvis Santa
“Mundoagua – Celebrating Carla Bley” — Arturo O’Farrill and the Afro Latin Jazz Orchestra
“A Tribute to Benny Moré and Nat King Cole” — Gonzalo Rubalcaba, Yainer Horta and Joey Calveiro
“Vanguardia Subterránea: Live at the Village Vanguard” — Miguel Zenón Quartet

Best alternative jazz album

“Honey From a Winter Stone” — Ambrose Akinmusire
“Keys to the City Volume One” — Robert Glasper
“Ride Into the Sun” — Brad Mehldau
“Live-Action” — Nate Smith
“Blues Blood” — Immanuel Wilkins

Best traditional pop vocal album

“Wintersongs” — Laila Biali
“The Gift of Love” — Jennifer Hudson
“Who Believes in Angels?” — Elton John and Brandi Carlile
“Harlequin” — Lady Gaga
“A Matter of Time” — Laufey
“The Secret of Life: Partners, Volume 2” — Barbra Streisand

Best contemporary instrumental album

“Brightside” — Arkai
“Ones & Twos” — Gerald Clayton
“Beatrio” — Béla Fleck, Edmar Castañeda, Antonio Sánchez
“Just Us” — Bob James and Dave Koz
“Shayan” — Charu Suri

Best musical theater album

“Buena Vista Social Club” — Marco Paguia, Dean Sharenow and David Yazbek, producers (Original Broadway Cast)
“Death Becomes Her” — Taurean Everett, Megan Hilty, Josh Lamon, Christopher Sieber, Jennifer Simard and Michelle Williams, principal vocalists; Noel Carey, Sean Patrick Flahaven, Julia Mattison and Scott M. Riesett, producers; Noel Carey and Julia Mattison, composers/lyricists (Original Broadway Cast)
“Gypsy” — Danny Burstein, Kevin Csolak, Audra McDonald, Jordan Tyson and Joy Woods, principal vocalists; David Caddick, Andy Einhorn, David Lai and George C. Wolfe, producers (Jule Styne, composer; Stephen Sondheim, lyricist) (2024 Broadway Cast)
“Just in Time” — Emily Bergl, Jonathan Groff, Erika Henningsen, Gracie Lawrence and Michele Pawk, principal vocalists; Derik Lee, Andrew Resnick and Bill Sherman, producers (Bobby Darin, composer and lyricist) (Original Broadway Cast)
“Maybe Happy Ending” — Marcus Choi, Darren Criss, Dez Duron and Helen J. Shen, principal vocalists; Deborah Abramson, Will Aronson, Ian Kagey and Hue Park, producers; Hue Park, lyricist; Will Aronson, composer and lyricist (Original Broadway Cast)

Best country solo performance

“Nose on the Grindstone” — Tyler Childers
“Good News” — Shaboozey
“Bad as I Used to Be [From “F1 The Movie”]” — Chris Stapleton
“I Never Lie” — Zach Top
“Somewhere Over Laredo” — Lainey Wilson

Best country duo/group performance

“A Song to Sing” — Miranda Lambert and Chris Stapleton
“Trailblazer” — Reba McEntire, Miranda Lambert and Lainey Wilson
“Love Me Like You Used to Do” — Margo Price and Tyler Childers
“Amen” — Shaboozey and Jelly Roll
“Honky Tonk Hall of Fame” — George Strait and Chris Stapleton

Best country song

“Bitin’ List” — Tyler Childers, songwriter (Tyler Childers)
“Good News” — Michael Ross Pollack, Sam Elliot Roman and Jacob Torrey, songwriters (Shaboozey)
“I Never Lie” — Carson Chamberlain, Tim Nichols and Zach Top, songwriters (Zach Top)
“Somewhere Over Laredo” — Andy Albert, Trannie Anderson, Dallas Wilson and Lainey Wilson, songwriters (Lainey Wilson)
“A Song to Sing” — Jenee Fleenor, Jesse Frasure, Miranda Lambert and Chris Stapleton, songwriters (Miranda Lambert and Chris Stapleton)

Best traditional country album

“Dollar a Day” — Charley Crockett
“American Romance” — Lukas Nelson
“Oh What a Beautiful World” — Willie Nelson
“Hard Headed Woman” — Margo Price
“Ain’t in It for My Health” — Zach Top

Best contemporary country album

“Patterns” — Kelsea Ballerini
“Snipe Hunter” — Tyler Childers
“Evangeline vs. the Machine” — Eric Church
“Beautifully Broken” — Jelly Roll
“Postcards From Texas” — Miranda Lambert

Best American roots performance

“Lonely Avenue” — Jon Batiste Featuring Randy Newman
“Ancient Light” — I’m With Her
“Crimson and Clay” — Jason Isbell
“Richmond on the James” — Alison Krauss & Union Station
“Beautiful Strangers” — Mavis Staples

Best Americana performance

“Boom” — Sierra Hull
“Poison in My Well” — Maggie Rose and Grace Potter
“Godspeed” — Mavis Staples
“That’s Gonna Leave a Mark” — Molly Tuttle
“Horses” — Jesse Welles

Best American roots song

“Ancient Light” —Sarah Jarosz, Aoife O’Donovan and Sara Watkins, songwriters (I’m With Her)
“Big Money” —Jon Batiste, Mike Elizondo and Steve McEwan, songwriters (Jon Batiste)
“Foxes in the Snow” — Jason Isbell, songwriter (Jason Isbell)
“Middle” — Jesse Welles, songwriter (Jesse Welles)
“Spitfire” — Sierra Hull, songwriter (Sierra Hull)

Best Americana album

“Big Money” — Jon Batiste
“Bloom” — Larkin Poe
“Last Leaf on the Tree” — Willie Nelson
“So Long Little Miss Sunshine” — Molly Tuttle
“Middle” — Jesse Welles

Best bluegrass album

“Carter & Cleveland” — Michael Cleveland and Jason Carter
“A Tip Toe High Wire” — Sierra Hull
“Arcadia” — Alison Krauss & Union Station
“Outrun” — The Steeldrivers
“Highway Prayers” — Billy Strings

Best traditional blues album

“Ain’t Done With the Blues” — Buddy Guy
“Room on the Porch” — Taj Mahal and Keb’ Mo’
“One Hour Mama: The Blues of Victoria Spivey” — Maria Muldaur
“Look Out Highway” — Charlie Musselwhite
“Young Fashioned Ways” — Kenny Wayne Shepherd and Bobby Rush

Best contemporary blues album

“Breakthrough” — Joe Bonamassa
“Paper Doll” — Samantha Fish
“A Tribute to LJK” — Eric Gales
“Preacher Kids” — Robert Randolph
“Family” — Southern Avenue

Best folk album

“What Did the Blackbird Say to the Crow” — Rhiannon Giddens and Justin Robinson
“Crown of Roses” — Patty Griffin
“Wild and Clear and Blue” — I’m With Her
“Foxes in the Snow” — Jason Isbell
“Under the Powerlines (April 24 – September 24)” — Jesse Welles

Best regional roots music album

“Live at Vaughan’s” — Corey Henry and the Treme Funktet
“For Fat Man” — Preservation Brass and Preservation Hall Jazz Band
“Church of New Orleans” — Kyle Roussel
“Second Line Sunday” — Trombone Shorty and New Breed Brass Band
“A Tribute to the King of Zydeco” — (Various Artists)

Best gospel performance/song

“Do It Again” — Kirk Franklin; Kirk Franklin, songwriter
“Church” — Tasha Cobbs Leonard, John Legend; Anthony S. Brown, Brunes Charles, Annatoria Chitapa, Kenneth Leonard Jr., Tasha Cobbs Leonard and Jonas Myrin, songwriters
“Still (Live)” — Jonathan McReynolds and Jamal Roberts; Britney Delagraentiss, Jonathan McReynolds, David Lamar Outing III, Orlando Joel Palmer and Terrell Demetrius Wilson, songwriters
“Amen” — Pastor Mike Jr.; Adia Andrews, Michael McClure Jr., David Lamar Outing II and Terrell Anthony Pettus, songwriters
“Come Jesus Come” — Cece Winans Featuring Shirley Caesar

Best contemporary Christian music performance/song

“I Know a Name” — Elevation Worship, Chris Brown, Brandon Lake; Hank Bentley, Steven Furtick, Brandon Lake and Jacob Sooter, songwriters
“Your Way’s Better” — Forrest Frank; Forrest Frank and Pera, songwriters
“Hard Fought Hallelujah” — Brandon Lake With Jelly Roll; Chris Brown, Steven Furtick, Benjamin William Hastings, Jason Bradley Deford and Brandon Lake, songwriters
“Headphones” — Lecrae, Killer Mike, T.I.; Tyshane Thompson, Bongo ByTheWay, Michael Render, Lecrae Moore, William Roderick Miller and Clifford Harris, songwriters
“Amazing” — Darrel Walls, PJ Morton; PJ Morton and Darrel Walls, songwriters

Best gospel album

“Sunny Days” — Yolanda Adams
“Tasha” — Tasha Cobbs Leonard
“Live Breathe Fight” — Tamela Mann
“Only on the Road (Live)” — Tye Tribbett
“Heart of Mine” — Darrel Walls, PJ Morton

Best contemporary Christian music album

“Child of God II” — Forrest Frank
“Coritos Vol. 1” — Israel & New Breed
“King Of Hearts” — Brandon Lake
“Reconstruction” — Lecrae
“Let the Church Sing” — Tauren Wells

Best roots gospel album

“I Will Not Be Moved (Live)” — The Brooklyn Tabernacle Choir
“Then Came the Morning” — Gaither Vocal Band
“Praise & Worship: More Than a Hollow Hallelujah” — The Isaacs
“Good Answers” — Karen Peck & New River
“Back to My Roots” — Candi Staton

Best Latin pop album

“Cosa Nuestra” — Rauw Alejandro
“Bogotá (Deluxe)” — Andrés Cepeda
“Tropicoqueta” — Karol G
“Cancionera” — Natalia Lafourcade
“¿Y ahora qué?” — Alejandro Sanz

Best música urbana album

“Debí Tirar Más Fotos” — Bad Bunny
“Mixteip” — J Balvin
“Ferxxo Vol X: Sagrado” — Feid
“Naiki” — Nicki Nicole
“EUB Deluxe” — Trueno
“Sinfónico (En Vivo)” — Yandel

Best Latin rock or alternative album

“Genes Rebeldes” — Aterciopelados
“Astropical” — Bomba Estéreo, Rawayana and Astropical
“Papota” — Ca7riel and Paco Amoroso
“Algorhythm” — Los Wizzards
“Novela” — Fito Paez

Best música Mexicana album (including Tejano)

“Mala Mía” — Fuerza Regida, Grupo Frontera
“Y Lo Que Viene” — Grupo Frontera
“Sin Rodeos” — Paola Jara
“Palabra De To’s (Seca)” — Carín León
“Bobby Pulido & Friends Una Tuya Y Una Mía – Por La Puerta Grande (En Vivo)” — Bobby Pulido

Best tropical Latin album

“Fotografías” — Rubén Blades, Roberto Delgado and Orquesta
“Raíces” — Gloria Estefan
“Clásicos 1.0” — Grupo Niche
“Bingo” — Alain Pérez
“Debut y Segunda Tanda, Vol. 2” — Gilberto Santa Rosa

Best global music performance

“EoO” — Bad Bunny
“Cantando en el Camino” — Ciro Hurtado
“Jerusalema” — Angélique Kidjo
“Inmigrante Y Que?” — Yeisy Rojas
“Shrini’s Dream (Live)” — Shakti
“Daybreak” — Anoushka Shankar Featuring Alam Khan and Sarathy Korwar

Best African music performance

“Love” — Burna Boy
“With You” — Davido Featuring Omah Lay
“Hope & Love” — Eddy Kenzo and Mehran Matin
“Gimme Dat” — Ayra Starr Featuring Wizkid
“Push 2 Start” — Tyla

Best global music album

“Sounds of Kumbha” — Siddhant Bhatia
“No Sign of Weakness” — Burna Boy
“Eclairer le monde – Light the World” — Youssou N’Dour
“Mind Explosion (50th Anniversary Tour Live)” — Shakti
“Chapter III: We Return to Light” — Anoushka Shankar Featuring Alam Khan and Sarathy Korwar
“Caetano e Bethânia Ao Vivo” — Caetano Veloso and Maria Bethânia

Best reggae album

“Treasure Self Love” — Lila Iké
“Heart & Soul” — Vybz Kartel
“Blxxd & Fyah” — Keznamdi
“From Within” — Mortimer
“No Place Like Home” — Jesse Royal

Best new age, ambient or chant album

“Kuruvinda” — Kirsten Agresta-Copely
“According to the Moon” — Cheryl B. Engelhardt, GEM and Dallas String Quartet
“Into the Forest” — Jahnavi Harrison
“Nomadica” — Carla Patullo Featuring the Scorchio Quartet and Tonality
“The Colors in My Mind” — Chris Redding

Best children’s music album

“Ageless: 100 Years Young” — Joanie Leeds and Joya
“Buddy’s Magic Tree House” — Mega Ran
“Harmony” — Fyütch and Aura V
“Herstory” — Flor Bromley
“The Music of Tori and the Muses” — Tori Amos

Best comedy album

“Drop Dead Years” — Bill Burr
“Postmortem” — Sarah Silverman
“Single Lady” — Ali Wong
“What Had Happened Was…” — Jamie Foxx
“Your Friend, Nate Bargatze” — Nate Bargatze

Best audio book, narration and storytelling recording

“Elvis, Rocky & Me: The Carol Connors Story” — Kathy Garver
“Into the Uncut Grass” — Trevor Noah
“Lovely One: A Memoir” — Ketanji Brown Jackson
“Meditations: The Reflections of His Holiness the Dalai Lama” — Dalai Lama
“You Know It’s True: The Real Story of Milli Vanilli” — Fab Morvan

“A Complete Unknown” — Timothée Chalamet
“F1 The Album” — (Various Artists)
“KPop Demon Hunters” — (Various Artists)
“Sinners” — (Various Artists)
“Wicked” — (Various Artists)

“How to Train Your Dragon” — John Powell, composer
“Severance: Season 2” — Theodore Shapiro, composer
“Sinners” — Ludwig Göransson, composer
“Wicked” — John Powell and Stephen Schwartz, composers
“The Wild Robot” — Kris Bowers, composer

“Avatar: Frontiers of Pandora – Secrets of the Spires” — Pinar Toprak, composer
“Helldivers 2” — Wilbert Roget, II, composer
“Indiana Jones and the Great Circle” — Gordy Haab, composer
“Star Wars Outlaws: Wild Card & a Pirate’s Fortune” — Cody Matthew Johnson and Wilbert Roget, II, composers
“Sword of the Sea” — Austin Wintory, composer

“As Alive as You Need Me to Be [From “Tron: Ares”]” — Trent Reznor and Atticus Ross, songwriters (Nine Inch Nails)
“Golden [From “KPop Demon Hunters”]” — Ejae and Mark Sonnenblick, songwriters (Huntr/x: Ejae, Audrey Nuna and Rei Ami)
“I Lied to You [From “Sinners”]” — Ludwig Göransson and Raphael Saadiq, songwriters (Miles Caton)
“Never Too Late [From “Elton John: Never Too Late”]” — Brandi Carlile, Elton John, Bernie Taupin and Andrew Watt, songwriters (Elton John, Brandi Carlile)
“Pale, Pale Moon [From “Sinners”]” — Ludwig Göransson and Brittany Howard, songwriters (Jayme Lawson)
“Sinners [From “Sinners”]” — Leonard Denisenko, Rodarius Green, Travis Harrington, Tarkan Kozluklu, Kyris Mingo and Darius Povilinus, songwriters (Rod Wave)

Best music video

“Young Lion” — Sade; Sophie Muller, video director; Sade and Aaron Taylor Dean, video producers
“Manchild” — Sabrina Carpenter; Vania Heymann and Gal Muggia, video directors; Aiden Magarian, Nathan Scherrer and Natan Schottenfels, video producers
“So Be It” — Clipse; Hannan Hussain, video director; Daniel Order, video producer
“Anxiety” — Doechii; James Mackel, video director; Pablo Feldman, Jolene Mendes and Sophia Sabella, video producers
“Love” — OK Go; Aaron Duffy, Miguel Espada and Damian Kulash Jr., video directors; Petra Ahmann, video producer

Best music film

“Devo” — Devo; Chris Smith, video director; Danny Gabai, Anita Greenspan, Chris Holmes and Chris Smith, video producers
“Live at the Royal Albert Hall” — Raye; Paul Dugdale, video director; Stefan Demetriou and Amy James, video producers
“Relentless” — Diane Warren; Bess Kargman, video director; Peggy Drexler, Michele Farinola and Kat Nguyen, video producers
“Music by John Williams” — John Williams; Laurent Bouzereau, video director; Sara Bernstein, Laurent Bouzereau, Justin Falvey, Darryl Frank, Brian Grazer, Ron Howard, Meredith Kaulfers, Kathleen Kennedy, Frank Marshall, Steven Spielberg and Justin Wilkes, video producers
“Piece by Piece” — Pharrell Williams; Morgan Neville, video director; Morgan Neville, Caitrin Rogers, Mimi Valdes and Pharrell Williams, video producers

Best recording package

“And the Adjacent Possible” — Hà Trinh Quoc Bao, Damian Kulash Jr., Claudio Ripol, Wombi Rose and Yuri Suzuki, art directors (OK Go)
“Balloonerism” — Bráulio Amado and Alim Smith, art directors (Mac Miller)
“Danse Macabre: De Luxe” — Rory McCartney, art director (Duran Duran)
“Loud Is As” — Farbod Kokabi and Emily Sneddon, art directors (Tsunami)
“Sequoia” — Tim Breen and Ken Shipley, art directors (Various Artists)
“The Spins (Picture Disc Vinyl)” — Miller McCormick, art director (Mac Miller)
“Tracks II: The Lost Albums” — Meghan Foley and Michelle Holme, art directors (Bruce Springsteen)

Best album cover

“Chromakopia” — Shaun Llewellyn and Luis “Panch” Perez, art directors (Tyler, the Creator)
“The Crux” — William Wesley II, art director (Djo)
“Debí Tirar Más Fotos” — Benito Antonio Martinez Ocasio, art director (Bad Bunny)
“Glory” — Cody Critcheloe and Andrew J.S., art directors (Perfume Genius)
“Moisturizer” — Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki and Rhian Teasdale, art directors (Wet Leg)

Best album notes

“Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974” — Scott B. Bomar, album notes writer (Buck Owens and His Buckaroos)
“After the Last Sky” — Adam Shatz, album notes writer (Anouar Brahem, Anja Lechner, Django Bates and Dave Holland)
“Árabe” — Amanda Ekery, album notes writer (Amanda Ekery)
“The First Family: Live at Winchester Cathedral 1967” — Alec Palao, album notes writer (Sly & the Family Stone)
“A Ghost Is Born (20th Anniversary Deluxe Edition)” — Bob Mehr, album notes writer (Wilco)
“Miles ‘55: The Prestige Recordings” — Ashley Kahn, album notes writer (Miles Davis)

Best historical album

“Joni Mitchell Archives – Volume 4: The Asylum Years (1976-1980)” — Patrick Milligan and Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell)
“The Making of Five Leaves Left” — Cally Callomon and Johnny Chandler, compilation producers; Simon Heyworth and John Wood, mastering engineers (Nick Drake)
“Roots Rocking Zimbabwe – The Modern Sound of Harare’ Townships 1975-1980 (Analog Africa No.41)” — Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)
“Super Disco Pirata – De Tepito Para El Mundo 1965-1980 (Analog Africa No. 39)” — Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)
“You Can’t Hip a Square: The Doc Pomus Songwriting Demos” — Will Bratton, Sharyn Felder and Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Doc Pomus)

Best engineered album, nonclassical

“All Things Light” — Jesse Brock, Jon Castelli, Tyler Johnson, Nick Lobel, Simon Maartensson, Lawrence “Boo” Mitchell, Anders Mouridsen, Ryan Nasci, Ernesto Olivera-Lapier, Ethan Schneiderman and Owen Stoutt, engineers; Dale Becker, mastering engineer (Cam)
“Arcadia” — Neal Cappellino and Gary Paczosa, engineers; Brad Blackwood, mastering engineer (Alison Krauss & Union Station)
“For Melancholy Brunettes (& Sad Women)” — Joseph Lorge, Blake Mills and Sebastian Reunert, engineers; Patricia Sullivan, mastering engineer (Japanese Breakfast)
“That Wasn’t a Dream” — Joseph Lorge and Blake Mills, engineers; Patricia Sullivan, mastering engineer (Pino Palladino, Blake Mills)

Best engineered album, classical

“Cerrone: Don’t Look Down” — Mike Tierney, engineer; Alan Silverman, mastering engineer (Sandbox Percussion)
“Eastman: Symphony No. 2; Tchaikovsky: Symphony No. 2” — Gintas Norvila, engineer; Jennifer Nulsen, mastering engineer (Franz Welser-Möst and the Cleveland Orchestra)
“Shostakovich: Lady Macbeth of the Mtsensk District” Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons, Kristine Opolais, Günther Groissböck, Peter Hoare, Brenden Gunnell and Boston Symphony Orchestra)
“Standard Stoppages” — Sean Connors, Robert Dillon, Peter Martin, Bill Maylone, Judith Sherman and David Skidmore, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)
“Yule” — Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Trio Mediaeval)

Producer of the year, classical

Blanton Alspaugh
Sergei Kvitko
Morten Lindberg
Dmitriy Lipay
Elaine Martone

Best immersive audio album

“All American F—boy” — Andrew Law, immersive mix engineer (Duckwrth)
“Immersed” — Justin Gray, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Justin Gray, Drew Jurecka and Morten Lindberg, immersive producers (Justin Gray)
“An Immersive Tribute to Astor Piazzolla (Live)” — Andrés Mayo and Martín Muscatello, immersive mix engineers; Andrés Mayo and Martín Muscatello, immersive producers (Various Artists)
“Tearjerkers” — Hans-Martin Buff, immersive mix engineer; Hans-Martin Buff, immersive producer (Tearjerkers)
“Yule” — Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Arve Henriksen and Morten Lindberg, immersive producers (Trio Mediaeval)

Best instrumental composition

“First Snow” — Remy Le Boeuf, composer (Nordkraft Big Band, Remy Le Boeuf and Danielle Wertz)
“Live Life This Day: Movement I” — Miho Hazama, composer (Miho Hazama, Danish Radio Big Band and Danish National Symphony Orchestra)
“Lord, That’s a Long Way” — Sierra Hull, composer (Sierra Hull)
“Opening” — Zain Effendi, composer (Zain Effendi)
“Train to Emerald City” — John Powell and Stephen Schwartz, composers (John Powell and Stephen Schwartz)
“Why You Here / Before the Sun Went Down” — Ludwig Göransson, composer (Ludwig Göransson Featuring Miles Caton)

Best arrangement, instrumental or a cappella

“Be Okay” — Cynthia Erivo, arranger (Cynthia Erivo)
“A Child Is Born” — Remy Le Boeuf, arranger (Nordkraft Big Band and Remy Le Boeuf)
“Fight On” — Andy Clausen, Addison Maye-Saxon, Riley Mulherkar and Chloe Rowlands, arrangers (The Westerlies)
“Super Mario Praise Break” — Bryan Carter, Charlie Rosen and Matthew Whitaker, arrangers (The 8-Bit Big Band)

Best arrangement, instruments and vocals

“Big Fish” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick, Nate Smith and Amanda Taylor, arrangers (Nate Smith Featuring Säje)
“How Did She Look?” — Nelson Riddle, arranger (Seth MacFarlane)
“Keep an Eye on Summer” — Jacob Collier, arranger (Jacob Collier)
“Something in the Water (Acoustic-Ish)” — Clyde Lawrence, Gracie Lawrence and Linus Lawrence, arrangers (Lawrence)
“What a Wonderful World” — Cody Fry, arranger (Cody Fry)

Best orchestral performance

“Coleridge-Taylor: Toussaint L’Ouverture; Ballade Op. 4; Suites From ’24 Negro Melodies’” — Michael Repper, conductor (National Philharmonic)
“Messiaen: Turangalîla-Symphonie” — Andris Nelsons, conductor (Boston Symphony Orchestra)
“Ravel: Boléro, M. 81” — Gustavo Dudamel, conductor (Simón Bolívar Symphony Orchestra Of Venezuela)
“Still & Bonds” — Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
“Stravinsky: Symphony in Three Movements” — Esa-Pekka Salonen, conductor (San Francisco Symphony)

Best opera recording

“Heggie: Intelligence” — Kwamé Ryan, conductor; Jamie Barton, J’Nai Bridges and Janai Brugger; Blanton Alspaugh, producer (Houston Grand Opera; Gene Scheer)
“Huang Ruo: An American Soldier” — Carolyn Kuan, conductor; Hannah Cho, Alex DeSocio, Nina Yoshida Nelsen and Brian Vu; Adam Abeshouse, Silas Brown and Doron Schachter, producers (American Composers Orchestra; David Henry Hwang)
“Kouyoumdjian: Adoration” — Alan Pierson, conductor; Miriam Khalil, Marc Kudisch, David Adam Moore, Omar Najmi, Naomi Louisa O’Connell and Karim Sulayman; Mary Kouyoumdjian, producer (Silvana Quartet; The Choir of Trinity Wall Street)
“O’Halloran: Trade & Mary Motorhead” — Elaine Kelly, conductor; Oisín Ó Dálaigh and John Molloy; Alex Dowling and Emma O’Halloran, producers (Irish National Opera Orchestra; Mark O’Halloran)
“Tesori: Grounded” — Yannick Nézet-Séguin, conductor; Ben Bliss, Emily D’Angelo, Greer Grimsley and Kyle Miller; David Frost, producer (the Metropolitan Opera Orchestra; the Metropolitan Opera Chorus; George Brant)

Best choral performance

“Advena – Liturgies for a Broken World” — Craig Hella Johnson, conductor (Simon Barrad, Emily Yocum Black and Michael Hawes; Conspirare)
“Childs: In the Arms of the Beloved” — Grant Gershon, conductor (Billy Childs, Dan Chmlellnskl, Christian Euman, Larry Koonse, Lyris Quartet, Anne Akiko Meyers, Carol Robbins and Luciana Souza; Los Angeles Master Chorale)
“Lang: Poor Hymnal” — Donald Nally, conductor (Steven Bradshaw, Michael Hawes, Lauren Kelly, Rebecca Siler and Elisa Sutherland; the Crossing)
“Ortiz: Yanga” — Gustavo Dudamel, conductor; Grant Gershon, chorus master (Los Angeles Philharmonic and Tambuco Percussion Ensemble; Los Angeles Master Chorale)
“Requiem of Light” — Steven Fox, conductor; Emily Drennan and Patti Drennan, chorus masters (Brian Giebler and Sangeeta Kaur; the Clarion Choir)

Best chamber music/small ensemble performance

“Dennehy: Land Of Winter” — Alan Pierson and Alarm Will Sound
“La Mer – French Piano Trios” — Neave Trio
“Lullabies for the Brokenhearted” Lili Haydn and Paul Cantelon
“Slavic Sessions” — Mak Grgić and Mateusz Kowalski
“Standard Stoppages” — Third Coast Percussion

Best classical instrumental solo

“Coleridge-Taylor: 3 Selections From ’24 Negro Melodies’” — Curtis Stewart; Michael Repper, conductor (National Philharmonic)
“Hope Orchestrated” — Mary Dawood Catlin; Jesús David Medina and Raniero Palm, conductors (Venezuela Strings Recording Ensemble)
“Inheritances” — Adam Tendler
“Price: Piano Concerto in One Movement in D Minor” — Han Chen; John Jeter, conductor (Malmö Opera Orchestra)
“Shostakovich: The Cello Concertos” — Yo-Yo Ma; Andris Nelsons, conductor (Boston Symphony Orchestra)
“Shostakovich: The Piano Concertos; Solo Works” — Yuja Wang; Andris Nelsons, conductor (Boston Symphony Orchestra)

Best classical solo vocal album

“Alike – My Mother’s Dream” — Allison Charney, soloist; Benjamin Loeb, conductor (National Symphonia Orchestra)
“Black Pierrot” — Sidney Outlaw, soloist; Warren Jones, pianist
“In This Short Life” — Devony Smith, soloist; Danny Zelibor, pianist; Michael Nicolas, accompanist
“Kurtág: Kafka Fragments” — Susan Narucki, soloist; Curtis Macomber, accompanist
“Schubert Beatles” — Theo Hoffman, soloist; Steven Blier, pianist (Rupert Boyd, Julia Bullock, Alex Levine, Andrew Owens, Rubén Rengel and Sam Weber)
“Telemann: Ino – Opera Arias for Soprano” — Amanda Forsythe, soloist; Robert Mealy, Paul O’Dette and Stephen Stubbs, conductors (Boston Early Music Festival Orchestra)

Best classical compendium

“Cerrone: Don’t Look Down” — Sandbox Percussion; Jonathan Allen, Victor Caccese, Christopher Cerrone, Ian Rosenbaum, Terry Sweeney and Mike Tierney, producers
“The Dunbar/Moore Sessions, Vol. II” — Will Liverman; Jonathan Estabrooks, producer
“Ortiz: Yanga” — Gustavo Dudamel, conductor; Dmitriy Lipay, producer
“Seven Seasons” — Janai Brugger, Isolde Fair, MB Gordy and Starr Parodi; Nicholas Dodd, conductor; Jeff Fair, Starr Parodi and Kitt Wakeley, producers
“Tombeaux” — Christina Sandsengen; Shaun Drew and Christina Sandsengen, producers

Best contemporary classical composition

“Cerrone: Don’t Look Down” — Christopher Cerrone, composer (Conor Hanick and Sandbox Percussion)
“Dennehy: Land of Winter” — Donnacha Dennehy, composer (Alan Pierson and Alarm Will Sound)
“León: Raíces (Origins)” — Tania León, composer (Edward Gardner and London Philharmonic Orchestra)
“Okpebholo: Songs in Flight” — Shawn E. Okpebholo, composer (Will Liverman, Paul Sánchez and Various Artists)
“Ortiz: Dzonot” — Gabriela Ortiz, composer (Alisa Weilerstein, Gustavo Dudamel and Los Angeles Philharmonic)



This story originally appeared on LA Times

Jim Carrey Inducts Soundgarden Into Rock & Roll Hall of Fame

Billboard
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Jim Carrey Inducts Soundgarden Into Rock & Roll Hall of Fame


Soundgarden were officially inducted into the Rock & Roll Hall of Fame on Saturday (Nov. 8), with actor-comedian Jim Carrey leading the tribute in a heartfelt, deeply personal speech that recalled his first experience seeing the grunge pioneers perform live.

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The comedian told the audience at the Peacock Theater in Los Angeles that he met the band in 1996 while hosting Saturday Night Live, where he personally requested Soundgarden as the musical guest.

“By then, the lineup was Chris [Cornell], Kim Thayil, Matt Cameron on drums, and Ben Shepherd on base. They launched into the dark, epic beauty of ‘Pretty Noose,’” Carrey explained.

“I stood right in front of them, letting the waves of electricity wash over me, like an audio baptism. They pushed me under and when I came up I was free.”

Carrey revealed that after the show, the band gifted him one of his most prized possessions: a Fender Telecaster signed by all four members, including late frontman Chris Cornell.

Cornell’s eldest daughter Lily took the stage following a video tribute to her father, delivering a touching speech and acknowledging her mother and Cornell’s former wife, Susan Silver, who once managed Soundgarden.

The surviving members of Soundgarden — Matt Cameron, Kim Thayil, Ben Shepherd, and founding bassist Hiro Yamamoto — were present for the induction. Yamamoto, who reunited with the band for the occasion, referenced his family’s internment during World War II: “That affected my life greatly,” he said. “And it really echoes strongly today. Let’s not add another story like this to our history.”

Kim Thayil reflected on Cornell’s creative leadership, stating, “If one of us ever hesitated in sharing an idea, Chris would be the first to say, ‘Let’s just try it out and see.’ I miss him. I love him, and I love all my [Soundgarden] brothers.”

The performance portion of the night featured Taylor Momsen (of The Pretty Reckless) fronting Soundgarden for “Rusty Cage” and Brandi Carlile joining them for “Black Hole Sun.” The ceremony concluded with Chris Cornell’s younger daughter, Toni, performing “Fell on Black Days” alongside Nancy Wilson.

The 2025 Rock & Roll Hall of Fame inductees also included OutKast, Bad Company, Cyndi Lauper, The White Stripes, Chubby Checker, and Joe Cocker. The event streamed live on Disney+ and will be available on-demand.



This story originally appeared on Billboard

Aryan Simhadri Talks Grover’s Big Changes and Solo Quest (Exclusive)

TV Insider
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Aryan Simhadri Talks Grover’s Big Changes and Solo Quest (Exclusive)


What To Know

  • In Percy Jackson and the Olympians Season 2, Grover embarks on a dangerous quest to find Pan.
  • Percy, Annabeth, Clarisse, and Tyson set out to rescue Grover and retrieve the Golden Fleece to save Camp Half-Blood from threats led by Luke and the Titan Kronos.
  • Aryan Simhadri teases where Grover’s Season 2 story begins, talks about Grover getting his reed pipe, and shares what will surprise fans about his story.

Grover Underwood (Aryan Simhadri) has been tasked with protecting demigods for years. Now, the demigods need to save him in Percy Jackson and the Olympians Season 2 on Disney+.

“We waste no time putting Grover in danger,” Simhadri told TV Insider in our Fall Preview interview. The Percy Jackson Season 2 trailer doesn’t waste time on that front either. Grover is snatched by a sea monster’s tentacle and dragged away in the first 15 seconds of the trailer. He’s later heard saying, “Percy, you’ve got to find me,” and we see him tied up in what’s no doubt a scene with the blind cyclops Polyphemus (Aleks Paunovic), who is Grover’s biggest foe in Season 2.

After Camp Half-Blood’s protective border is breached, Percy embarks on an epic odyssey into the Sea of Monsters in search of his best friend, Grover, and the one thing that may save the camp — the legendary Golden Fleece. With help from Annabeth (Leah Sava Jeffries), Clarisse (Dior Goodjohn), and his newfound cyclops half-brother Tyson (Daniel Diemer), Percy’s survival becomes essential to stopping Luke (Charlie Bushnell), the Titan Kronos, and their impending plan to bring down Camp Half-Blood — and ultimately, Olympus.

So, where is Grover when the peril begins? The last time we saw him was in the Season 1 finale, when he was about to search for Pan, the god of nature. In Season 2, fans will get to see Grover on this quest. Simhadri shared what to expect in Grover’s first scenes in Season 2.

“We join him as he’s in this forest, and right away from the second we meet him, he’s already off,” the actor told TV Insider. “He stumbles upon this satyr corpse, which is very telling of what’s in Grover’s immediate future for this season.”

“We get to see a little bit of what happens to him between Season 1 and Season 2,” Simhadri continued. “He sends postcards to Percy, which was lovely, and we just pick up right alongside him.” One of those postcards is seen in the trailer (see below).

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Grover is far from the first satyr to embark on a quest to find Pan. As explained in Season 1, many have tried, but none have returned. The blind cyclops Polyphemus is responsible for many of those tragic tales. Grover comes across “a lot” of dead satyrs the closer he gets to the cyclops, Simhadri warned, and once he gets to Polyphemus’ cave, it’s a “traumatic” sight.

“If you think about the quest for Pan as a bunch of linear events that happen — if he’s at point B and we start at point A — Polyphemus’ cave is a huge roadblock that a lot of satyrs eventually had to come up against. And so far, none of them have come back alive,” Simhadri explained. “So it’s interesting. It’s a cool dynamic to see Polyphemus making light of the fact that Grover shows up in his cave. To Polyphemus, Grover is just another snack. To Grover, this is his whole life. And so seeing him step on satyr skulls and bones strewn all over the place, it’s a traumatic position for Grover to be in, let alone the fact that he’s alone from friends and family and home.”

Grover’s dangerous quest meant that Simhadri was doing stunts on his first day of filming the second season, “which was sick,” the actor raved. Another thing that excited him was Grover finally getting his reed pipe. Satyrs use reed pipes to channel their woodland magic. When they play certain songs, the musical instrument can help them do things such as capture enemies, grow plants, and more. While Grover’s reed pipe is in the first book, The Lightning Thief, it wasn’t included in Season 1 of the show.

Grover will receive his panpipe at the beginning of Season 2, Simhadri shared (you can see him with the instrument in the photo at the top of the page). This was something he talked to the writers about including in the second season.

“I’m so glad that we found a place for this,” Simhadri said. “I talked to Daphne about it, who’s one of our incredible writers, because it wasn’t there in Season 1. And we were both like, ‘Yeah, it makes sense that Grover would now have this opportunity to showcase his skills.’”

Grover feels like a “complete” character to the actor now, thanks to this addition.

“That’s his way of fighting,” Simhadri said. “It’s part of his kit, and so I feel now like it’s finally complete. Grover in Season 2 is basically the Grover that we’re going to see for the rest of the show.”

“We get to see him getting his pipes, and it’s right off the top,” he added. “It’s kind of an immediate up for him, which was selfishly awesome for me. It’s cool that he now has this physical evidence that he’s older and he’s a little more capable.”

Simhardri also shared what he thinks will surprise fans the most about Grover’s plot this season.

“I think it’s easy to forget that Grover’s on his own quest a lot of the time, because he can’t really bring it up to Percy and Annabeth. They don’t really understand in the same way that he does,” he said. “They were abandoned by their godly parents, and so was Luke. And that’s why all of this started. Grover, and kind of any satyr, has always had his.”

“He’s more vulnerable than everyone thinks he is,” Simhadri continued. “He’s portrayed as this protector who is solely there for Percy and Annabeth, but this season we see him on his own and what that does to him … You get to see him lose it a little bit. He kind of just fully cracks. That’s something that we’ve never really seen from Grover before.”

Percy Jackson Season 2 debuts with two episodes on Wednesday, December 10.

Percy Jackson and the Olympians, Season 2 Premiere, Wednesday, December 10, Disney+ and Hulu




This story originally appeared on TV Insider

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