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7 Takeaways From the 2026 Grammy Nominations
Music

7 Takeaways From the 2026 Grammy Nominations

by jummy84 November 9, 2025
written by jummy84

The nominations for the 2026 Grammy Awards got announced today. Leading the field is Kendrick Lamar, and Lady Gaga and producers Jack Antonoff and Cirkut trail closely behind. There are newcomers—such as Best New Artist nominees Addison Rae and Leon Thomas—and familiar faces, like Tyler, the Creator and Turnstile. Below, see a handful of takeaways from the nominations.

Grammy Nominations 2026: See the Full List Here

What Genres Are Tyler, the Creator and Turnstile?

When he won Best Rap Album, for Igor, at the 2020 Grammy Awards, Tyler, the Creator had some choice words for the Recording Academy. “It sucks that whenever we—and I mean guys that look like me—do anything that’s genre-bending or that’s anything, they always put it in a rap or urban category,” he told a Rolling Stone reporter after accepting the trophy. ““When I hear that, I think ‘why can’t we just be in pop?’ Half of me feels like the rap nomination was a backhanded compliment.”

Five years later and Tyler’s wish has finally come true—kind of. In addition to several nods—including Album of the Year and Best Rap Album—for 2024’s Chromakopia, he’s up for Best Alternative Music Album, for Don’t Tap the Glass, his homage to the dance styles of the 1980s. It’s an odd fit for a record that has far more in common with Beyoncé’s Renaissance than it does, say, Wet Leg, and does seem to reflect a limited imagination on the part of Grammy voters. The implication is that a career rapper cannot make a dance album, only an album that is alternative to the other music he has made in his career, are thereby still defined by it.

Turnstile are another act stuck in genre purgatory. The Baltimore hardcore outfit has three songs from Never Enough nominated in three separate categories: Best Rock Performance (“Never Enough”), Best Alternative Music Performance (“Seein’ Stars”), and Best Metal Performance (“Birds”). (The full-length is also up for Best Rock Album!) In Turnstile’s case, though, the spread cements a popular embrace, even by the most entrenched establishment types, that began in earnest with 2021’s Glow On. The only question left is when the Police will be able to claim their retroactive Best Metal Album Grammy for Zenyatta Mondatta.

November 9, 2025 0 comments
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5 Takeaways From Tame Impala’s New Album Deadbeat
Music

5 Takeaways From Tame Impala’s New Album Deadbeat

by jummy84 October 18, 2025
written by jummy84

Tame Impala were once a record collector’s idea of a rock band. Then they were a rock band that was one guy and that one guy was also a record collector. 2015’s Currents took that proposition as far as it could go, and when Kevin Parker dropped “End of Summer” as the lead single from his fifth studio album, Deadbeat, something else became apparent: Every crate-digger eventually finds his way to the dancefloor.

Deadbeat is Parker’s electronic and dance album, but it’s also his new father album, as his first daughter was born the year after the pre-pandemic The Slow Rush. As such, he throws in some dadly nods to Family Guy and Pablo Escobar, while still treading familiar emotional territory for Tame Impala: jealousy, paralysis, and social anxiety. Parker digs into his psyche not necessarily through lyrics but by paying homage to the music he ostensibly loves, like Jeff Mills’ “The Bells” (“Not My World”), the Beatles (“See You on Monday”) and, apparently, DJ Khaled and Rihanna’s “Wild Thoughts” (“Obsolete”). Here are five takeaways from the album.

An Intimate, Unvarnished Opening

Deadbeat opens with a demo track of Parker singing over a house piano riff. It’s a meaningful gesture—stripping aside the glossy varnish of Currents and The Slow Rush, conjuring the image of Parker alone in a room, surrounded by the highest of high-end recording equipment. That piano, fuzzy with room sound, reappears as a motif throughout the album. Later, on the skeevy synth-funk single “Loser,” a murmured “fuck” wanders its way into the final mix, like the fossil record of an off-the-cuff earlier version. For an artist obsessed with craft, Parker has gotten more comfortable letting the seams show.

October 18, 2025 0 comments
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Five Takeaways From the World Soundtrack Awards on Composers Contracts
TV & Streaming

Five Takeaways From the World Soundtrack Awards on Composers Contracts

by jummy84 October 17, 2025
written by jummy84

One of the key issues at the World Soundtrack Awards Music Days, one of the leading events for film composers, was how to negotiate a fair contract. The closing panel of the industry program looked at the question in depth, examining the hidden contradictions and complexities of publishing rights and buy-outs in screen music.

Held in partnership with the European Composer and Songwriter Alliance, the conversation used the alliance’s recently published report “Audiovisual Composers’ Contracts: Current Practices, Challenges and Recommendations” as a starting point. In it, ECSA says that the profession is becoming increasingly precarious, stating that “the secrecy surrounding contractual practices as well as the absence of comprehensive legal or contractual guidance” makes creators vulnerable.

“In recent years, this problem has been compounded by the increasingly high level of concentration of the European audiovisual market, and the rising market share of non-European video-on-demand platforms,” continues the report, emphasizing how this landscape has seen composers “negotiating in the dark,” giving up royalties for “an often meager” lump-sum payment and reducing the sustainability of their careers. “If they refuse such contracts or wish to challenge their terms, they face the risk of being blacklisted and excluded from future work opportunities.”

To discuss best practices and key struggles, the WSA gathered a panel consisting of the CEO of the Screen Composers Guild of Ireland, Sarah Glennane; founder of screen composers agency Strike a Score, Valerie Dobbelaere; commercial rights director at Faber Music, Harriet Moss; media composer and copyright and contract law teacher Johan van der Voet; and Dutch/Irish composer Aisling Brouwer (“The Buccaneers”). Below, you’ll find five takeaways from their conversation: 

Know as much about music rights as you do about music technology

Glennane brought up the above, based on a quote by British composer Kevin Sargent, as a way of highlighting how important it is in the industry to be on top of creative legal rights. “There’s a base level to that,” added Moss. “If you have a contract, it has got to be in writing. Make sure you understand it. Pay somebody to read it or manage it, if that’s not possible, whether that’s through the commission of an agent or a publisher, be it through a lawyer.”

“It’s important to be able to talk to other composers about it,” said Brouwer. “Because these terms we’re signing have become commonplace, and it’s something that sneaks into the industry. The more people agree to them, the more it becomes the new norm. As composers, we have so much power coming together and advocating for our rights and we have a responsibility to protect our sources of income because so much of it has already been taken away.”

Buyout beware

Buyout contracts are agreements that generally see the composer surrender all rights to their work in exchange for a single fee, foregoing any future revenues generated by their work. The ESCA report showed that 53% of its members had experienced buyer contracts, and 47% of audiovisual composers find buyout practices to be one of the main challenges to their fair remuneration.

Van der Voet brought up major streamers when speaking on the issue, saying he “would love to be hired by Netflix, but their contracts are horrible.” “What does happen is that you’re working with directors who are maybe not that famous, but it can happen that your music will be on Amazon or streamers [later]. I did a movie 10 years ago that has just been sold to Disney+. That happens. What contract did I sign 10 years ago? Am I getting money for this? A lot of composers don’t look into the future. What are you signing away? You have to be very wary of that.” 

The composer also made a point of highlighting how full buyout contracts are “an American thing,” given that you cannot buy out the writer’s share in many European countries and the U.K. “In America, the company may own the whole production. If you can negotiate, you might get your writer’s share, but it’s theirs to give. Whereas in Europe we have author’s rights, and basically you cannot take away my author’s right even if I sign all kinds of contracts on top of that.”

Glennane pointed out that buyout contracts seek to remove revenue streams and that she sees composers as “speculators.” “It’s a speculative career. You’re hoping that the work you do is amazing and that you are creatively and economically recognized. Royalties exist in this kind of ecosystem to reward that speculation and investment.”

Production companies are not publishers: pseudo-publishing

In the ESCA report, the practice of producers and broadcasters requiring composers to “sign away or significantly reduce the publishing rights to the works while not fulfilling their legal obligations” to undertake traditional publishing services “related to the exploitation of the works” and to be transparent is called “pseudo-publishing.”

During the panel, Glennane brought up examples like game music being used on screen adaptations of the game to exemplify the practice, making a point of emphasizing that production companies are not publishers and therefore are not the best party to negotiate or be responsible for publishing rights. 

“The problem with pseudo-publishing is they grab the rights and they do nothing in return,” said van der Voet. “An example of that is: you’re working with a director who is working with a production company, and then what happens is that some of these pseudo-publishers contact the production company and say they’ll set up a publishing company for you. Film production companies are not music publishers. In the Netherlands, we’ve seen people consistently getting the composer to sign a deal and after that, nothing happens. You just lose money.”

Moss, who also works in publishing, advised composers about the possibility of a single song assignment, or SSA. “We can just publish an album or a soundtrack, but then you’ve got that representation and also the potential for secondary exploitation if it’s allowed.”

The AI copyrighting issue

The conversation around AI loomed over several panels during the WSA Music Days. Since the subject was the main guiding thread of last year’s edition, many attending participants cited a certain exhaustion over continued discussions on the use of artificial intelligence in composing. Still, it is a key discussion to be had when it comes to negotiating rights.

Moss brought up how she manages a “small catalog” of about 13,000 copyrights. “We know all of those composers and their work inside out. That just means you hear something and your hair immediately goes up, but we work with as much technology as possible to be looking for fingerprinting and things like that to protect our composers’ work.”

“But it’s a difficult thing to balance,” she added. “There are a lot of film scores that sound very similar, and that’s always an issue. There are definitely some gray areas.”

Long live the kill fee

As the panel wrapped, participants were asked what piece of advice they would give budding composers. Most of them agreed on one key thing: always have a kill fee. “You need to have a kill fee in case something goes wrong creatively or there’s a fallout,” said Moss. “It does happen. So you need something [in the contract] ensuring that any work that you have already started on is paid for.”

“I do a lot of low-budget projects where the fees are not that high,” added van der Voet. “But there might be other parties involved who want to invest, so suddenly there’s money, but nothing that can be changed about the movie except for the music. Suddenly, they have money to pay a great composer, and you’re off the project.”

October 17, 2025 0 comments
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The 7 Biggest Takeaways From Netflix’s ‘Victoria Beckham’
Fashion

The 7 Biggest Takeaways From Netflix’s ‘Victoria Beckham’

by jummy84 October 9, 2025
written by jummy84

In 2007, Victoria caused quite the kerfuffle when she attended a Marc Jacobs show. Marc wrote her a letter afterward, asking her to be in his campaign, and she agreed. When she saw the photos, though, “I was horrified.” They leaned into Victoria’s public image at the time and were far from glamorous. “It was very much poking fun at me, and that’s when I realized I was a laughing stock. No one took me seriously in this industry. I knew I wanted to be a designer. I knew I had a point of view. But I also knew that I needed someone to believe in me.”

A decade later, though, she returned to the concept. Now a designer in her own right, she found herself losing her way and her DNA fading from her brand. In an effort to “put Victoria Beckham back into Victoria Beckham,” she called Juergen Teller, who’d photographed her for that Marc Jacobs campaign, and asked him to recreate it for her own brand. “When he shot me 10 years ago, the laugh was on me. But I wanted to reclaim that image for myself.”

To make it in fashion, she had to “kill the WAG”

Crucial to Victoria’s success in fashion was the designer Roland Mouret, who became an important early mentor. “Roland saw something,” Victoria remembers. “We connected and he believed in me. He was very, very honest and really, really tough.” He told her that “the enemy was fear and lack of self-esteem. To make the dream become reality, we had to kill the WAG.” Victoria complied. “I buried those boobs in Baden-Baden,” she says. “I became a simpler, more elegant version of myself.”

Her partnership with David Belhassen saved her business

In the second and third episode, Victoria speaks candidly about the difficulties she faced in the fashion business, as her independent label was scaled up rapidly from intimate presentations to blockbuster shows. She eventually found herself backed into a corner, with losses running up to the millions and David, whose financial input had been essential, unable to keep investing. “The entire house was crashing down,” she remembers. “I was losing my business. I needed outside investment. I needed someone to help me.”

October 9, 2025 0 comments
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5 Takeaways From Taylor Swift’s New Album The Life of a Showgirl
Music

5 Takeaways From Taylor Swift’s New Album The Life of a Showgirl

by jummy84 October 3, 2025
written by jummy84

For a minute, it felt as if Taylor Swift was about to embark on her own Never Ending Tour. It’s more fair to say Swift is on something closer to a perpetual victory lap. Beyond the Eras Tour grossing over $2 billion in sales, she scored a record-breaking fourth Grammy for Album of the Year, dropped an exposé of a double album, and reacquired the masters to her first six albums after nearly completing the Taylor’s Version project (note: this is just recounting the major points of last year). Each new Taylor Swift record means a new cultural movement, more records to be broken, and, perhaps most integral, a batch of songs to contextualize in the Swiftian canon.

So give a warm welcome to The Life of a Showgirl, Swift’s 12th studio album, which foils The Tortured Poets Department in a few major ways. For one, it’s a tight 12-track run compared to the colossal 31-track of TTPD. Max Martin and Shellback—reuniting with Swift for their first new body of work together since 2017’s Reputation—produced and wrote the entire record with her. And The Life of a Showgirl finds Swift on cloud 9, swooning over her future with a fiancé and her present, infinite success. Here are 5 takeaways from the album.

The Tortured Playwrights Department

Turns out the chairman of the Tortured Poets Department is hosting a playwriting seminar, and the Bard’s tragedy Hamlet is required reading. The Life of a Showgirl opens with “The Fate of Ophelia,” where Swift recounts the major facets of the presumed bride of the Prince of Denmark. Ophelia is driven to madness after the murder of her father and flaky romantic advances from Hamlet, and before long, takes her own life. The Hamlet of Swift’s world possesses much more agency than the original; here, he is no longer cowardly and immobile, but honest about his infatuation with Ophelia and sweeps her off her feet. “And if you’d never come for me,” Swift declares, with the bass pulsing like a racing heart, “I might’ve lingered in purgatory.” It’s easy to see why she’s drawn to revise Ophelia’s ending (she does love giving a few notes to William Shakespeare), especially as Showgirl’s love songs are entranced with her soon-to-be husband, Travis Kelce. Call it her honeymoon era.

Cell Block Taylor

OK, let’s talk about it: “Actually Romantic” is already believed to be about club rat turned worldwide phenomenon Charli XCX, whose song “Sympathy is a knife” was a public blood-letting of her deepest insecurities as a 30-something female pop star; when she spots a certain singer backstage, she detests her, then feels guilty for the vitriol and jealousy pumping through her veins. Out of the gate, “Actually Romantic” is in your face with its barbs. Swift calls her a cowardly cokehead, a yipping lapdog, and maims XCX’s now-husband George Daniel (“How many times has your boyfriend said, ‘Why are we always talking ’bout her?’”). I almost expected Swift to recall a line from Mean Girls when she feigns flattery from the lopsided feud.

You could categorize most of Swift’s discography into different emotions or subjects, and this song will be filed under the Vindictive Diss Tracks label. Unlike Swift’s biggest enemies (slimy businessmen looking to make a buck, those complicit of the Swift–West 2016-17 crisis), “Actually Romantic” is reminiscent of Swift’s earliest revenge songs, where she was too caught up in her anger to see straight. It’s a far cry from the Taylor who revised a lyric on Speak Now (Taylor’s Version) for fear of being labeled as slut-shaming and anti-feminist.

So High School

This is what Swift said to GQ about her tour in 2015: “I’ve just been onstage for two hours, talking to 60,000 people about my feelings… When I get home, there is not one part of me that wishes I was around other people.” So while The Life of a Showgirl gives a glimpse behind the curtain of being the biggest pop star in the world, the album is less about the rush of being on stage than the desire for a simple life. Swift dreams up a white picket fence life on “Wi$h Li$t,” complete with gaggles of children playing house together, while “Ruin the Friendship” imagines a teenage Swift too stunned to make a move on a boy she’s crushing on; it ends with her at his funeral, reminiscent of the frosty Red (Taylor’s Version) track “Forever Winter.” Most major celebrities or pop artists will tell you their lives are spent in a glass cage, and yearn for mundanity as much as some pine for fame. In Taylor’s words on the record’s rapturous finale, “You don’t know the life of a showgirl, babe, and you’re never gonna wanna.”

That’s How You Get the Girl

On the Midnights opener “Lavender Haze,” Swift brushed off an enduring question regarding her former, long-term partner: When are you two finally going to tie the knot? Despite the song’s cool confidence, it was obvious she was exhausted by this query, and maybe her stance on matrimony had begun to shift. Swift and Kelce announced their engagement a few weeks after the album’s announcement, and Swift’s adoration for the Kansas City Chiefs player (Killa Trav if you’re nasty) bleeds into a trio of tracks on The Life of a Showgirl. What were once sour memories of barroom condescension now taste like sugar water; “Gave it a different meaning ’cause you mean it” she chirps on “Honey.” Taking notes from the Carpenter Songbook, she goes on a double entendre bonanza on “Wood,” where in one breath proclaims knowing Kelce’s the one, and in the next, name-drops his podcast to describe his, erm, virility (“New Heights of manhood”). Only time will tell if the basketball hoop in “Wi$h Li$t” will join the red scarf, a rickety screen door, and a downtown bar as canonical motifs of love in the Swiftiverse.

Swiftian Semantics

  • “Your thoughtless ambition sparked the ignition/On foolish decisions which lead to misguided visions” (“Father Figure”)
  • “I have been afflicted by a terminal uniqueness/I’ve been dying just from trying to seem cool” (“Eldest Daughter”)
  • “Glistening grass from September rain/Gray overpass full of neon names” (“Ruin the Friendship”)
  • “Now they’ve broken you like they’ve broken me/But a shattered glass is a lot more sharp” (“Cancelled!”)
  • “Buy the paint in the color of your eyes and graffiti my whole damn life” (“Honey”)
October 3, 2025 0 comments
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5 Takeaways From the 2026 Lineup
Music

5 Takeaways From the 2026 Lineup

by jummy84 September 17, 2025
written by jummy84

Once upon a time, Coachella used to ring in a new year of festivals and live music by releasing its lineup in January. It arrived in this timeframe with such consistency that those first couple weeks of January were frustratingly slow for the festival’s devotees. But those days, apparently, are over. Following up on last year’s surprise November lineup drop, Coachella pushed the timeline up two months earlier and revealed its 2026 lineup on Monday, September 15th.

The extra early release suggests two things: that organizers would ideally like an even longer runway to sell tickets (not a bad idea), and they’re really confident in their 2026 lineup. When glancing at this upcoming year’s edition, it’s easy to see why. Sabrina Carpenter and Karol G will headline the festival as previously reported, anchoring Friday and Sunday night; Justin Bieber — perhaps the biggest name of the bunch, and the toughest to nail down — will take the reins on Saturday for his very first solo Coachella performance. Also, the Italian DJ and producer Anyma is back post-Sphere residency to debut his new show, Æden.

Get Coachella 2026 Tickets Here

Elsewhere on the lineup are sub-headlining performances from The xx, The Strokes, and Young Thug, plus Nine Inch Noize (Nine Inch Nails + Boys Noize), Turnstile, Disclosure, Iggy Pop, David Byrne, Interpol, Addison Rae, Dijon, Ethel Cain, Wet Leg, Laufey, BIGBANG, FKA twigs, DEVO, Moby, KATSEYE, Sombr, Alex G, and many more.

As festival lineups have been increasingly looking more and more random, it’s a bit challenging to assess the direction that big events like Coachella are taking. Last year’s lineup felt more millennial-coded than usual, and the same could be said about this year. At the same time, Coachella reprises the crucial strategy of nabbing as many ‘acts du jour’ as possible (see: sombr, Addison Rae, KATSEYE, Teddy Swims, and Laufey).

Read on for the five biggest takeaways from the Coachella 2026 lineup.

It All Depends on How You Feel About Justin Bieber

It was hardly 18 months ago when a still-burgeoning Sabrina Carpenter seized the main stage and casually debuted a little song called “espresso” at Coachella. Like her fellow Coachella 2024 breakout Chappell Roan, Carpenter’s rise has been stratospheric of late; she could have so easily taken the entirety of 2026 off following the success of Short ‘n Sweet, but instead she doubled down and put out a great new album, Man’s Best Friend. So, it was a no-brainer to get Carpenter back for next year’s Coachella. She’s at the peak of her powers, she’s got a whole lot of personality and charisma on stage, and her live vocals are excellent.

Karol G’s rise has been less ubiquitous but still undeniably big. The Colombian pop star performed a massively attended 2022 set (complete with a memorable celebration of Latin pop), became the first Latin artist to headline Lollapalooza in 2023, dropped her star-studded fifth album Tropicoqueta this summer, and recently headlined the halftime show for the São Paulo installment of the NFL’s International Series.

Then there’s Anyma, which… look, I’m sure his residency at the Sphere was visually spectacular. I can appreciate an artist who pays as much attention to the visual aspects of a live show as they do for the sonic aspects. But it’s hard to not see Anyma as the odd one out in this group of headliners. Is his music really worth such a prime slot? Not just his visuals, but the songs themselves? I imagine the SoCal electronic heads will have a lot more to say about his booking and performance than I do (though I also suspect that a huge portion of his audience are tech bros).

This brings us to the make or break headliner: Justin Bieber. 10 years ago, even with the rejuvenation he experienced with Purpose, it would have been unthinkable to book Bieber as a central headliner. A lot of the core Coachella crowd, who attended this festival in the first phase of its existence, might be deterred by the choice. But Swag, his latest album, has been a summer hit, and many of the fans who grew up with Bieber are engaging with him again out of nostalgia and because of his “It’s not clocking to you” persona.

Perhaps the album really has worked a miracle and altered the way general public see Bieber; as far as we see it, however, one rather nice album doesn’t really change the fact that his catalog is uneven and a lot of his recent music has been boring, worship-lite wife guy pop. Bieber being the ‘legacy’ superstar is a bit of a bold risk; he has never headlined one of the Big Five of US festivals, he’s scaled back on live shows significantly over the years, his public life has been slightly turbulent of late, and he’s a pretty unique get, all things considered.

At the same time, this is Justin Bieber we’re talking about, not Frank Ocean or Lady Gaga or Taylor Swift. He’s fine. Mid, even.

September 17, 2025 0 comments
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Here Are Five Key Takeaways From Jolly LLB 3 Trailer
Bollywood

5 Key Takeaways From Akshay Kumar & Arshad Warsi’s Courtroom Drama That Has Fans Buzzing

by jummy84 September 12, 2025
written by jummy84

Here Are Five Key Takeaways From Jolly LLB 3 Trailer
5 Big Takeaways From Jolly LLB 3 Trailer (Photo Credit – YouTube)

The verdict for the Jolly LLB 3 trailer is here and unanimous! Fans are completely blown over with the glimpse of the courtroom comedy, which is set to hit screens on September 19, 2025. With a perfect mix of humor, drama, and chaos, this third installment promises to raise the stakes like never before. Here are five key takeaways from the trailer that fans can’t stop talking about:

1. Two Jollies & One Epic Showdown

Jolly LLB 3 is set to bring double the drama, fun, and chaos as Akshay Kumar’s Jolly Mishra and Arshad Warsi’s Jolly Tyagi are finally sharing screen space and courtroom floor. The trailer teases a hilarious, high-octane legal face-off, with both Jollies trying to outwit and outtalk each other. Fans are looking forward to unveiling the brand new courtroom chaos, verbal volleys, and a legal duel as funny as it is fierce.

Daleelein hui khatam, faisla has been given.
Verdict आ chuki hai, अब Judge sahab बताएंगे – Kanpur ya Meerut? #JollyLLB3Trailer out on 10th September. #JollyLLB3 in cinemas 19th September. #JollyVsJolly pic.twitter.com/lCw7OFYiOt

— Star Studios (@starstudios_) September 6, 2025

2. Judge Tripathi Caught In Crossfire

Judge Tripathi, played by the ever-brilliant Saurabh Shukla, is also returning alongside the two Jollys, and it is clear from the start that he is not having an easy time. With two loud-mouthed, overzealous Jollies in his courtroom, Judge Tripathi looks more exhausted than ever. His legendary expressions and sarcastic commentary are already stealing scenes in the trailer.

#JollyLLB3Trailer TODAY! 🙌#JollyLLB3 pic.twitter.com/t4LZFnkMmi

— Star Studios (@starstudios_) September 10, 2025

3. Gajraj Rao Goes Full Villain Mode

Gajraj Rao seems to have fully embraced a sinister side, going villain mode in Jolly LLB 3. The trailer only gives us a glimpse of his mysterious, powerful character, but it’s enough to get the speculation going. Who is he and what is his agenda? Amid all the frenzy surrounding his role, it is certain that the character will bring enough drama to the courtroom floor.

AK brings the humour, Arshad matches it, Gajraj villain toh next level 🔥#JollyLLB3 pic.twitter.com/jteM68fRNO

— Rupak Sen (@RupakSen99) September 10, 2025

4. The Ladies Are Back & Better Than Ever

Fans of the franchise are also thrilled to witness a glimpse of Huma Qureshi and Amrita Rao back in action. While their screen time in the trailer is brief, their presence brings a strong emotional layer to the story and provides fans with the right amount of nostalgia amid the courtroom madness.

Akshay Kumar with Huma Qureshi

Arshad Warsi with Amrita Rao.#JollyLLB3 will be back with OG actresses.

Amrita will be back on big screen after a long time.

Excited.

Directed by Subhash kapoor.#Akshaykumar pic.twitter.com/wHslc92l4c

— TA 💫 (@Tirlovesha) June 9, 2024

5. Bigger, Bolder & Funnier Threequel

If the trailer is anything to go by, Jolly LLB 3 is certainly going a notch higher than its predecessors by being bigger, bolder, and funnier. The satire feels sharper, the emotional stakes higher, and the comedy more outrageous. With commentary on the justice system, ego battles, and moral dilemmas wrapped in laugh-out-loud moments, this one is shaping up to be the most entertaining film of the franchise yet.

For more such stories, check out Bollywood News

Must Read: Jolly LLB 3 Trailer X Reactions: Akshay Kumar & Arshad Warsi’s Courtroom Comedy Receives Immense Praise, Netizens Call It “Paisa Vasool”

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September 12, 2025 0 comments
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5 Takeaways From Justin Bieber’s New Album SWAG II
Music

5 Takeaways From Justin Bieber’s New Album SWAG II

by jummy84 September 5, 2025
written by jummy84

From the depths of the popstar doldrums, Justin Bieber has risen again. After four years of controversy, a heated financial dispute with his longtime manager, numerous reports of him “crashing out,” and very little new music to distract us from this, Bieber finally silenced critics in July with his blissed-out comeback record SWAG. It’s his best work in a decade, a collection of soulful ballads and rap linkups that has the authentic, homespun charm of a mixtape. Improbably, with less than 24 hours’ notice, we learned this week he’d be releasing a follow-up, SWAG II.

Teased yesterday with some memes and billboards, Bieber officially announced the new album on X: “swag II midnight tonight.” It did not drop at midnight, and many diehard fans (and this writer) stayed up for hours, waiting until it finally popped up on streaming services around 3:30 a.m EST. The sequel’s textures are brighter than the original, but its ethos remains the same: This is the music Bieber loves to make. With more odes to his wife, left-field collaborations, and stylistic risks, it’s the sumptuous second half of one of the most surprising popstar transformations in recent memory. Here are five key takeaways.

Same SWAG, Different Day

This is a proper sequel, not a heavily marketed deluxe. These 23 songs have similar textures (word to Mk.gee and Michael Jackson) as SWAG and sound like they were created during the same intense period of artistic breakthrough for Bieber. I imagine there are hundreds of songs in the vault that could’ve landed on either of these, but the 44 we got across these two records were considered the best. I’m sure fans will have a field day rearranging them to their liking.

It Sounds Pink, Too

Where SWAG felt heavily introspective, SWAG II is brighter and generally more fun. Bieber sticks closer to conventional pop structures on the sequel, attacking them with a looseness that sounds like relief. Songs like “Bad Honey” and “All the Way” still lean heavily towards R&B and gospel, but have much less of an alternative skew. After breaking through what felt like artistic purgatory on SWAG, II feels like a victory lap, a celebration of his newfound freedom.

Surprising Features

Much like SWAG, Bieber’s guest list here does not include your standard copy-paste popstar features. He harmonizes with Tems on “I THINK YOU’RE SPECIAL,” gives a verse to the English singer Bakar on the Michael Jackson-indebted “DON’T WANNA.” and lets his pal Lil B throw some spoken word over “SAFE SPACE.” Dijon also lends a hand on production on six songs. But most surprisingly (and effectively!) Shreveport, Louisiana, rapper Hurricane Chris, who had a moment almost 20 years ago with his hit “A Bay Bay,” joins Bieber on “POPPIN’ MY S***” for a show-stealing verse. I imagine Bieber was deep in a regional rap rabbit hole on YouTube before making the boss call.

Biblical Bieber

In case you haven’t heard, Justin Bieber and his wife, Hailey, recently had a kid. I’ve been told childbirth can bring parents closer to God, and this was touched on in SWAG (“GLORY VOICE MEMO,” “FORGIVENESS”), but taken a step further on SWAG II. “EVERYTHING HALLELUJAH” is an ode to life—its trials, mundanities, and beauty alike. “STORY OF GOD,” though, is a sermon from Bieber himself, who kind of sounds like the nine-year-old in church who is forced to read a long piece of scripture on Easter. He speaks about the story of Adam and Eve, the tree of knowledge, good and evil, the connective tissue between animals and human beings, and how the end is merely the beginning. It’s a long but touching passage, and I much prefer it to the Druski skits we were force-fed on the last album.

September 5, 2025 0 comments
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5 Takeaways From Sabrina Carpenter’s New Album Man’s Best Friend
Music

5 Takeaways From Sabrina Carpenter’s New Album Man’s Best Friend

by jummy84 August 30, 2025
written by jummy84

After years toiling in the post-Disney-star pop ecosystem, Sabrina Carpenter finally broke through last year with Short n’ Sweet, her sixth album, which rode to pop ubiquity (and strong Grammys recognition) off the back of “Espresso,” “Please Please Please” and “Taste” its three catchy, sharply written megahit singles. Since then, she’s staged a gigantic global arena tour and, somehow, found time to record a follow-up: Man’s Best Friend, which once again finds her working with Jack Antonoff, John Ryan, and the songwriter Amy Allen.

Like its predecessor, Man’s Best Friend positions Carpenter as a kind of TikTok-era Mae West: a sex symbol who’s in on the joke, and who can flick between sweet and savage in milliseconds. This time around, there’s a little more sadness and frustration in the mix—Short n’ Sweet might have made frequent reference to the irresistible nature of Carpenter, but this record pokes some holes in that self-confidence as she sings about men who are disinterested, rude, or just plain annoying. Here are five key takeaways.

Provocation with Purpose

Man’s Best Friend was already a media sensation before it even came out, thanks to its vaguely provocative cover—Carpenter, on all fours, with a man in a suit grabbing her hair—and its title, which some fans assumed was being presented literally and uncritically. In truth, the presentation of the album makes a lot of sense when you listen to it: Many of these songs, like “My Man on Willpower” and “We Almost Broke Up Again,” center on Carpenter’s inability to cut herself off from men who trifle with her emotions or make her feel undervalued. (On her being treated, in other words, like a dog.)

Euro Swag

One of the songs on Sabrina Carpenter’s pre-show playlist is ABBA’s “If It Wasn’t For The Nights,” an underrated and relatively obscure from 1979’s Voulez-Vous, written by Björn Ulvaeus about how his own sense of workaholism was the only thing getting him through his divorce from Agnetha Faltskog. Carpenter’s ABBA standom comes into full bloom on Man’s Best Friend, which draws distinct influence from the lush white European pop of the ’70s and ’80s. There are shades of “I’ve Been Waiting For You” on “We Almost Broke Up Again Last Night,” while “Nobody’s Son” plays like a love letter to the Swedish pop industry, somehow nodding to “One of Us,” Ace of Base’s “The Sign” and Jens Lekman’s “The Opposite of Hallelujah” in equal measure.

Then there’s “Goodbye,” the album’s triumphantly acerbic closer, which channels “Voulez-Vous” and the hearty chug of “Take a Chance on Me.” If Carpenter wants to stay in this lane for a while, there’s still plenty of weird ABBA music from which to mine inspiration: personally, I’d love to hear her take on “Visitors”-esque paranoid coldwave.

August 30, 2025 0 comments
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Sabrina Carpenter's 'Man's Best Friend': Five Takeaways
Music

Sabrina Carpenter’s ‘Man’s Best Friend’: Five Takeaways

by jummy84 August 29, 2025
written by jummy84

Sabrina Carpenter tried to warn you. “The album is not for any pearl clutchers,” the “Espresso” pop goddess told Gayle King, before dropping her new album, the hotly awaited Man’s Best Friend. And she wasn’t kidding about that. Sabrina has returned with her most libidinally charged, riotously funny album — not to mention her best. All over Man’s Best Friend, Sabrina delivers nonstop one-liners about love, sex, and breaking up. Right from the start, she set out to punch people’s buttons, starting with the title and the hugely controversial album cover. The photo depicts Sabrina on her hands and knees in a little black dress, reaching up to a power-suited figure who’s grabbing a fistful of her blonde hair. The songs live up to that spirit — it’s the great smutty sex-comedy concept album that Abba never made. 

It’s also full of delightfully catty break-up salt, after her high-profile split from Saltburn actor Barry Keoghan. But the whole album is a major statement from a true original — nobody in the game combines sex and laughter the way Sabrina does. Here are five takeaways from Man’s Best Friend.

She’s Not One to Waste Time
Sabrina moves fast — Man’s Best Friend comes almost exactly a year after her breakthrough Short n’ Sweet, the August 2024 blockbuster that made her a household name. But instead of taking her time with the follow-up, she introduced her new era back in June, with “Manchild,” her second Number One hit after “Please Please Please.” Man’s Best Friend gets right to the point — twelve songs in 38 minutes, all written by Carpenter with just three collaborators: Jack Antonoff, Amy Allen, and John Ryan. All three are on top of their game — not a skip in the bunch. Antonoff really puts out as her producer, helping her cram the music full of nonstop twists and turns, with loads of Abba and Eurodisco. His most famous collaborator has been Sabrina’s pal/tourmate/mentor Taylor Swift, but she made her upcoming album with Max Martin and Shellback. (Carpenter is featured on the title song, “The Life of a Showgirl.”) So no wonder Antonoff sounds extra-determined to remind everyone why he’s the producer-king wingman to all the main pop girls.

Editor’s picks

Sabrina’s Got Sex on the Brain
No surprise here — Sabrina spends virtually of these songs on the prowl for carnal satisfaction, milking every kind of sexual scenario. She never runs out of risqué imagery. The synth-pop banger “House Tour” is one of her most hilariously filthy songs. After dinner with a dim bulb who drives a cool car (“the pineapple air freshener is my favorite kind”), she invites her date back to her home on “Pretty Girl Avenue,” offering, “I’m pleasured to be your hot tour guide.” But it soon becomes clear she’s not talking real estate. “Do you want the house tour?” she purrs. “I could take you to the first, second, third floors/And I promise none of this is a metaphor/I just want you to come inside.” She constructs the song with all her lyrical carpentry, from “I spent a little fortune on the waxed floors” to “We can be a little reckless because it’s insured” to “Never enter through the back door.” Location, location, location.

She Needs Emotional R-E-S-P-E-C-T
Sabrina is not exactly coy when it comes to shredding lovers who fail to deliver. In her excellent new single “Tears,” she explains that what she really needs is an emotional connection. The chorus has one of her most clever hooks: “I get wet at the thought of you/Being a responsible guy/Treating me like you’re supposed to do/Tears run down my thighs.” She goes into detail about her ideal of seductive male behavior — “Considering I have feelings? I’m like, ‘Why are my clothes still on?’” — and how much it turns her on when you do the dishes and assemble her IKEA furniture. (She debuted the “Tears” video on Friday, a Rocky Horror homage starring Colman Domingo.)

She faces a different version of the same dilemma in “My Man on Willpower,” where she laments, “My man won’t touch me with a twenty-foot pole/My slutty pajamas not temping him in the least.” Whatever he’s going through, it leaves her frustrated, asking, “What in the fucked-up romantic dark comedy is this nightmare?”

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Even Sabrina Gets the Break-Up Blues
Hell hath no fury like a Sabrina scorned, and this album is full of songs where she rips her exes apart. After the headlines about her split from Keoghan, she did a not-so-subtle remake of the “Please, Please, Please” video with Dolly Parton, where his character is bound and gagged in the back of her truck. So fans were ready for Saltbrina to fire away, and she doesn’t hold back, with kiss-offs like “I just wish you didn’t have a mind that could flip like a switch/That could wander and drift to a neighboring bitch.” She hits the town for a rebound bender in “Go Go Juice.” “A girl who knows her liquor is a girl who’s been dumped,” she sings, until she decides to drunk-dial her troubles away. “Could be John or Larry, gosh, who’s to say? Or the one that rhymes with ‘villain’ if I’m feeling that way.” (“Villain” might not exactly rhyme with “Keoghan” — though Bob Dylan is a longtime friend of the Beatle Keoghan plays in an upcoming movie — but “Larry” sure rhymes with “Barry.”)

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When it comes to saying farewell, she doesn’t necessarily take the high road. “Goodbye” concludes, “I’ll say arrivederci, au revoir/Forgive my French but fuck you, ta ta.” Her nastiest barb here is “Never Getting Laid,” her sarcastic revision of “I Will Always Love You,” as she lets her ex know, “I wish you a lifetime full of happiness/And a forever of never getting laid.”

She’s Sick of Her Phone
Sabrina meets her share of romantic buzzkills on Man’s Best Friend, but she’s got especially harsh words for phone junkies. In the highlight “Sugar Talking,” she goes ballistic on a lover who spends more time texting than showing up in person. “Put your loving where your mouth is,” she commands, after getting one too many late-night texts. “Your paragraphs mean shit to me / Get your sorry ass to mine.” She commands him to put down the phone and focus on giving her some IRL face-to-face action. He sends her flowers to apologize, but that doesn’t do it for her either. It’s a bold stand from a romantic who wants less thumb-typing and more face time. “You having these epiphanies,” she sneers. “Big word for a real small mind/Aren’t you tired of saying a whole lot of nothing?” Like the rest of Man’s Best Friend, it’s Sabrina at her nastiest, funniest, and most irresistible.

August 29, 2025 0 comments
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