Category: 5. Entertainment

Musexpo has announced Kirk Sommer, WME’s senior partner and global co-head of music, as their International Music Person of the Year for 2025.

Sommer will be recognized for his years-long efforts in aiding the careers of Amy Winehouse, Adele, Andrea Bocelli, Artic Monkeys, Benson Boone, Billie Eilish, the Killers and many more at a VIP Awards Gala Luncheon on March 24, 2026 in Burbank, Calif.

As part of a weeklong series of industry gatherings including the global synch and brands summit, the A&R summit, and other marquee events, Musexpo will bring together key decision-makers and innovators from around the world to examine the future of music, media and technology.

Prior to the luncheon, Musexpo will host a keynote conversation with Sommer, offering a rare, in-depth look into his professional journey — from starting in the WME mailroom in 2000 to becoming an industry leader in global music representation.

Sat Bisla, president and founder of A&R Worldwide and Musexpo, stated, “Kirk M. Sommer has not only shaped the careers of some of the world’s greatest musical voices but has also helped redefine what it means to be a leader in today’s ever-evolving music industry. His deep respect for artists, his commitment to mentorship, as well as his strong global perspective and vision make him an exceptional choice for this honor. It’s our privilege to recognize his outstanding contributions to the worldwide music ecosystem.”

+ Lo Ting-Fai, known as Lofai, has been appointed president of Warner Music APAC, at Warner Music Group. Effective Aug. 11, he will be based in Hong Kong, reporting to Robert Kyncl, CEO of WMG. All of the company’s recorded music territory heads across the Asia-Pacific region will report to Lofai.

Lofai joins WMG from telecoms giant PCCW, where he most recently served as CEO of its subsidiary MakerVille, a leading entertainment company which focuses on content creation, artist management, and live events, and COO of Viu, its regional OTT streaming platform. He has also written hit songs under the pseudonym “Yu Ri.”

Lofai said: “I’m excited to be taking up this incredible role. WMG has been rewriting the rules when it comes to how a music company works in our changing industry, and it has massive ambitions for growth in the APAC region. I look forward to collaborating with Robert and WMG’s teams around the world as we help more Asian artists hit the global stage, strengthen our incredible catalog, and find fresh, innovative ways to build passionate, loyal fanbases.”

Kyncl adds: “Lofai will oversee many of our highest priority markets both today and in the future, with culturally diverse music scenes, filled with next generation talent and iconic copyrights. He brings his creative flair, business acumen, and connections throughout the digital economy to this super important role. Together, we’re committed to finding and developing artists with massive creative and commercial impact, evolving our suite of services, and growing our market share across the region.”

+ Red Bull Records has signed country artist and award-winning songwriter Pynk Beard (Sebastian Kole) alongside the release of his new single, “Sip,” the third offering from his debut EP, “Red Dirt Diaries,” coming this fall.

On the signing, Greg Hammer, managing director of Red Bull Records states: “Pynk Beard effortlessly blends his traditional Southern roots with culturally resonant lyrics, creating a sound that is truly original. To watch him build a loyal following before releasing any music officially has been incredibly impressive and speaks to how special he is. We’re thrilled to welcome him to Red Bull Records and we’re confident he has a bright future ahead of him that we’re proud to champion.”

“I’m so grateful to be a part of the Red Bull Records family!” Pynk Beard added. “They have been nothing short of amazing in supporting me in the release of my first two singles ‘I Lived’ and ‘Mine Lord Willing’, and their genuine interest and care for me as an artist has shown in every action. The future here is bright and Pynk.”

+ Los Angeles-based lifestyle and fitness apparel brand YoungLA has tapped artist Lil Baby to star in the brand’s latest campaign drop launching online Aug. 13. “YoungLA x Lil Baby” merges streetwear with Lil Baby’s signature style and influence, and includes standout denim outerwear and bottoms, graphic tees, and a statement leather jacket featuring the Batman emblem.

+ Adidas has announced multi-platinum international DJ-producer Uncle Waffles as the latest global talent to join “Superstar: The Original” a campaign celebrating the sneaker’s long-lasting influence in sports, culture and beyond. The partnership with Uncle Waffles is adidas’ newest installment of its global campaign starring a multi-generational cast of original voices, including Samuel L. Jackson, who narrates the campaign, as well as Missy Elliott, Jennie, Anthony Edwards, Mark Gonzales, GloRilla, Teezo Touchdown and Gabbriette.

+ 5020 Records, a division of Sony Music, has signed singer-songwriter Carla Morrison to its roster.

A three-time Latin Grammy winner and two-time Grammy nominee, Morrison is widely recognized for her blend of indie pop and alternative styles. Originally from Tecate, Baja California, Morrison shared news of her signing with 5020 Records via her official social media channels, posting a welcome letter from the label thanking her for entrusting them with her music.

Launched in 2022, 5020 Records is a Sony Music imprint that represents a dynamic lineup of talent, including Residente, Beele, Ca7riel and Paco Amoroso, Christina Aguilera, Kany García, Nathy Peluso, Kenia OS, and Tini.

Jennifer Aniston just opened up about the one man she sought to impress.

The 56-year-old actress, famed for her role as Rachel Green in the popular sitcom, Friends, was raised by her father John Aniston, who died in 2002 and mother Nancy Dow who passed away in 2016.

Speaking to Vanity Fair over how close she was to her dad and how much she wanted to impress him, Jennifer said that she grew up manifesting the success she has currently so that John would “love me as much as I love him.”

“It was the thing that drove me and was also my biggest heartbreak: trying to impress and prove your value to a man who’s only capable of so much,” the Murder Mystery actress said.

She admitted “always wanting to get Pop’s approval,” and said that before his demise, nearly three years ago, she was able to hear her dad say he’s proud of her.

“We had a few of those moments,” The Break-Up talent revealed.

Jennifer was also asked what inspires her “way of pushing joy and positivity,” a comment that was made about her by Sandra Bullock in 2022.

“First of all, that was the sweetest thing anyone has ever said to me,” she told Interview Magazine.

“I think that it comes from growing up in a household that was destabilized and felt unsafe, watching adults being unkind to each other,” the Emmy-winning star further answered.

She then recalled, witnessing during her childhood “certain things about human behavior that made me think: ‘I don’t want to do that. I don’t want to be that. I don’t want to experience this feeling I’m having in my body right now. I don’t want anyone else that I ever come in contact with ever to feel that.’”

“So I guess I have my parents to thank. You can either be angry or be a martyr, or you can say, ‘You’ve got lemons? Let’s make lemonade,’” Jennifer Aniston concluded. 

The Duke and Duchess of Sussex have signed a fresh multi-year film and television deal with Netflix, contradicting reports this year that the streaming company would not renew its contract with them.

Harry and Meghan, who struck a five-year deal in 2020 reportedly worth $100m (£78m) after stepping back from their duties as senior royals, have collaborated with Netflix on a number of projects, most recently the duchess’s lifestyle series With Love, Meghan.

Media reports had suggested that poor viewing figures for some of the couple’s projects meant that Netflix would not extend the “first look” deal, whereby the streamer has the first option on any projects their company, Archewell Productions, generates.

With Love, Meghan – alongside which the duchess launched her brand, As Ever, in which Netflix is now a partner – failed to break into the streamer’s top 300 shows in the first half of this year, while Harry’s documentary, Polo, ranked 3,346 of 7,000 shows.

The terms of the “multi-year, first look deal for film and television projects” were not disclosed.

The duchess said: “We’re proud to extend our partnership with Netflix and expand our work together to include the As Ever brand.

“My husband and I feel inspired by our partners who work closely with us and our Archewell Productions team to create thoughtful content across genres that resonates globally, and celebrates our shared vision.”

Their new output will include a second season of With Love, Meghan later this month, as well as a Christmas special in December.

Archewell Productions is also working on Masaka Kids, A Rhythm Within, a documentary about orphaned children in the Masaka region of Uganda, where the “shadows of the HIV/Aids crisis linger”.

A boardroom dispute led to Harry stepping down in March from Sentebale, the charity he founded to help children orphaned by Aids in Lesotho. A spokesperson said at the weekend that the duke was considering setting up a new charitable organisation working “in the same space in the region”.

There is also “active development” on other Archewell projects with Netflix, which “span a variety of content genres”, including a feature adaptation of the bestselling romantic novel Meet Me At The Lake, by Carley Fortune.

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Not all the couple’s forays into content creation have been commercially successful. In 2023, a $20m deal they had signed with Spotify to produce podcasts came to an end after just 12 episodes.

Spotify’s head of podcast innovation and development labelled the pair “grifters” on his own podcast after the Sussexes announced the end of the relationship.

“I wish I had been involved in the ‘Meghan and Harry leave Spotify’ negotiation,” said Bill Simmons, who sold his company to Spotify for $196m in 2020 and gained a leadership role at the company. “The Fucking Grifters. That’s the podcast we should have launched with them.”

Reports at the time said the royal couple had not met the productivity benchmark required to receive the full headline payout from the deal.

Meghan Markle has just lauded for the way she silenced her haters by walking a different path.

Former BBC Royal Correspondent Jennie Bond is the expert in question, and the commentator spoke to host Martin Daubney about this ‘victory’ as she calls it.

The chat happened on GB News and saw Ms Bond say, “There was no statement from Harry and Meghan and no indication at any point, but we all decided that the Netflix deal was dead in the water, so it’s one in the eye, actually, to all her detractors.”

“There’s one show that’s in the can already, that’s her lifestyle show, there’s a holiday special about Christmas, and then there’s the Ugandan documentary.”

“Harry was mentioned in that only as one of many producers, quite a long way down, actually, and Meghan is also mentioned there. The rest of it is all very, very vague. But the fact of the matter is, Meghan has won, and we have to eat humble pie.”

In her conversation with the host Ms Bond also highlighted why she believes the Duke took on no solo projects this time around by saying, “I think he has realised that perhaps television isn’t his forte, producing television programmes is really not as easy as he might have thought, and he’s far better not on the celebrity treadmill.”

After all “he’s much better using his name for his campaigns, and I think that he is going to be going in that direction with just a little foot in the Netflix camp from time to time.”

However she did note that Prince Harry’s passion project the Invictus Games is still a hot pocket being one “his biggest success so far.”

So “i’m sure he is obviously going to continue with that, but I think he will be treading a different path. Netflix say that they are very influential voices, Harry and Meghan, and it’s true. Whatever they do, whatever they say or whatever gesture they make, we’re all over it, aren’t we?”

On the other hand “Meghan is the celebrity, she is the LA girl, and he has a bit of a bit part here, but hopefully, that’s the way they want to work it, and he will create a different path for himself,” Ms Bond said in her concluding remarks. 

HBO Max’s “The Gilded Age” ended its third season on Sunday, with a happy ending for Peggy (Denée Benton), who — spoiler alert — was proposed to on the dance floor by William (Jordan Donica) during the Kirklands’ ball. The engagement ring presented during the scene featured pearls and diamonds in a design that experts judged ahead of its time.

Set in the late 19th century, the show has often featured jewelry styles inspired by the Victorian era. Peggy’s engagement ring took a different route. The setting of her ring falls within the cluster-style family, featuring a pearl as the center stone surrounded by diamonds set in yellow gold.

“Natural Pearls, yellow gold and clusters were popular themes during this time, so these themes in the ring match the era. However, based on the gallery and the less delicate nature of the metalwork, this ring feels a bit more 1940s to me,” Andria Rogers, founder of the New York-based vintage jewelry company Andria Barboné, told WWD.

According to Rogers, true Victorian pieces tend to lie closer to the finger, having a low profile, more tightly knit stones, cohesive designs and antique diamonds. Peggy’s ring, on the other hand, appears to be a more modern cut.

Lauren DeYoung, founder of Lauren DeYoung Jewelry, said the ring has more similarities with a classic cocktail ring from the 1950s than with pieces from the late 1800s. “It’s challenging to accurately identify the diamond cuts in this piece, but in an original Victorian ring, we would see old mine-cut or rose-cut diamonds,” DeYoung said.

If sold today, Penny’s ring would likely feature in a price range of $3,000 to $5,000, the jewelers said. “A ring from the 1880s would feature a natural pearl, as it predates the introduction of cultured pearls. While natural pearls are rare, the small size would not hold significant value,” DeYoung explained.

The style of Peggy’s engagement ring can please brides-to-be today. “We still see diamond cuts from this period that are very popular, including old mine-cut and rose-cut diamonds,” DeYoung said.

Other styles from the Victorian Era that are still en vogue are half-hoops, which feature three to five stones spanning across a thin finger, and Toi et Mois, which feature two gemstones side by side. “Toi et Mois has become popular again recently, but was a very common and romantic theme in the 1800s,” Rogers said.

HBO has confirmed that season 3 of The Last of Us will not air until 2027, sparking speculation among fans about the show’s future. The network addressed the rumours during a programming update, stressing that the series remains in active development despite the extended wait.

Adapted from the acclaimed PlayStation video game franchise, The Last of Us debuted in January 2023 to strong critical and audience reception.

Set in a post-apocalyptic United States ravaged by a fungal outbreak, the first season followed Joel and Ellie’s cross-country journey, drawing over 37 million viewers per episode worldwide and securing multiple awards.

Season 2, broadcast from April to May 2025, covered the first half of The Last of Us Part II and introduced new characters alongside significant plot changes.

HBO content chief Casey Bloys confirmed the 2027 release date for season 3 but noted uncertainty over whether the remainder of the story will be told across one or two seasons.

The upcoming season will bring notable creative changes. Neil Druckmann, series co-creator and creative lead on the original games, will step back from his role, leaving Craig Mazin as sole showrunner following the departure of executive producer Halley Gross.

In a major narrative shift, season 3 will centre on Abby, a pivotal character from The Last of Us Part II. Kaitlyn Dever has been officially cast in the role, with the story expected to explore the aftermath of Joel’s death and the intertwined arcs of Ellie and Abby.

Although HBO has not released filming dates, production is expected to begin in the next year.

The series will continue its large-scale location shoots, complex visual effects work, and detailed character development, maintaining the high production standards that have defined the adaptation.

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Crocs have always been comfy, but now they’re cozy, too.

The cult-favorite footwear brand has tapped Millie Bobby Brown as global ambassador and the face of its new Surrey Hills-set campaign, highlighting the brand’s latest drop: the Classic Unfurgettable Clog. The fresh silhouette combines the versatility of Crocs’ Classic Lined Clog with the unmatched comfort of Crocs’ Classic Cozzzy Slipper.

Shot by Lillie Eiger, the photographs capture the elevated styling potential for the brand’s newest release. Brown models the Unfurgettable Clog‘s Mushroom and Quartz colorways, but the fuzzy footwear is available in three additional hues as well: Black, Vanilla and Milk Chocolate. Each of the five varieties retails for $59.99 and comes in both women’s and men’s sizes.

In the campaign imagery, Brown explores her bold and whimsical style by adorning her clogs with an assortment of playful Jibbitz charms. The Unfurgettable Clogs can hold eight total Jibbitz in the holes along their faux fur backstraps.

In addition to unveiling the Unfurgettable Clog, Crocs has dropped fresh colorways in other popular fleece and fuzz-lined shoes: the Classic Lined Clog ($44.99-$59.99), Classic Cozzzy Slipper ($39.99-$49.99) and Classic Cozzzy Luxe Slipper ($54.99).

The Millie Bobby Brown ambassadorship announcement comes on the heels of the Lola Tung x Crocs campaign, the brand’s crossover with The Summer I Turned Pretty star, in which she models the Classic Crafted Clog.

Related: This Season’s “It” Shoe Fuses Last Summer’s Top Two Footwear Trends

Shop the Classic Unfurgettable Clog along with the new colorways of the Classic Lined Clog, Classic Cozzzy Slipper and Classic Cozzzy Luxe Slipper now at crocs.com and through Crocs retailers and wholesalers globally. For more inspiration, check out the special Unfurgettable Jibbitz curation.

The Naked Gun has been held up as a bellwether for the viability of studio comedies in the post-pandemic era, and this past weekend, the comedy reboot proved its staying power. The feature, directed by Akiva Schaffer and starring Liam Neeson, dropped just 50 percent in its sophomore outing, bringing its domestic total to $33 million, and its global haul to $56.4 million.

Producers Seth MacFarlane and Erica Huggins hope The Naked Gun is the first of a new wave of comedies that will find theatrical audiences.

Outside of Naked Gun, Macfarlane and Huggins-headed Fuzzy Door has a varied slate that runs the gamut from a Peacock series based on the late ’80s horror-comedy The Burbs to a doc on Carl Sagan to Macfarlane’s Frank Sinatra tribute album Lush Life: The Lost Sinatra. Macfarlane says, “To put it this way: You can make spark plugs and breakfast cereals at the same time, and if there’s a market for both, then why not?”

MacFarlane and Huggins talk to THR about the “double-edged sword” of testing comedies, what lessons Hollywood should take from Naked Gun’s performance, and sequel plans.

What has the response been to Naked Gun’s performance?

ERICA HUGGINS I’ve gotten so many incoming calls and texts and emails from well-wishers, and that doesn’t always happen. (Laughs.) For the first time, you can feel the goodwill from every single producer, all the agencies, from actors, from people who just want comedy.

SETH MACFARLANE I just got a text from a retired Family Guy writer, which tells you how long the show has been on the air.  “A retired Family Guy writer.” He said he was at a barber shop at Amherst, Massachusetts. It’s a six-chair place, and everybody was talking about The Naked Gun.

If that isn’t a glowing review, I don’t know what is. What was the biggest hurdle to get the greenlight on this movie?

HUGGINS The biggest thing to overcome was the question: “Will a movie like this — a spoof movie, that we haven’t seen in at least a decade — work for today’s audience?” Then, the next question always became, “Who is the audience? Is it nostalgia only? Is it the older crowd? How do we get the younger crowd?” And then it always came back to budget. The other big part to overcome was that we needed dramatic actors to play the comedy, and play it straight.

How did you convince the studio that Liam Neeson was the right choice?

MACFARLANE I don’t know that we ever did. Eventually, they just got tired of us. There have been other iterations of this franchise attempted over the years and oftentimes it is a comedian, and usually a terrific comedian, who is announced as the lead. One of the fundamental edicts of the [original Naked Gun creators] Zucker Brothers was you played against the comedy. You cast people like Robert Stack, Peter Graves and Leslie Nielsen. There were no comics, and it just worked every single time when they stuck to that.

In the opening weekend exit numbers, nearly half the audience was in the 18 to 34 demo. What do you make of that?

HUGGINS All the previous Naked Guns were PG-13. Akiva was extremely aware of what that did for him as a kid. It allowed him access, even though it was still a little bit risqué.

MACFARLANE Younger audiences don’t really have the same comedy filmography attached to their experience of growing up as we did. We had movies like Planes, Trains and Automobiles and Caddyshack. In the ’90s, they had comedies like Home Alone and in the early 2000s 40-Year-Old Virgin and Knocked Up. It’s been a while since a generation has had a comedy or series of comedies that define their decade.

The marketing for this movie leaned into the reality that there haven’t been broad comedies in theaters. Why do you think that played well?

MACFARLANE It was an easy choice for the studio to just dive into, because there has not been a true, hard comedy in a long time. In the ’80s, you had shows like Cheers that were comedies. They had jokes, they had laughs, they were true comedies that would also be recognized during award season. You don’t see that anymore. [Today] you see essentially dramas with a smattering of jokes in comedy categories. I think it was pretty easy for the studio to take that reality and say, “Hey, we know what you’re looking for. Here’s some water in the desert.”

How important is audience testing when it comes to releasing a comedy for modern audiences?

MACFARLANE Testing is such a double-edged sword. It is hugely valuable in the same way that it’s hugely valuable to workshop your stand-up set, to know what jokes work and what don’t, and to take different parts of the country and see how different audiences react. The only downside is some of the stuff that sticks in the long run, that’s the stuff that’s a little weirder, so it doesn’t really land right away.

HUGGINS The things that audiences love the most and hate the most are the things that are most talked about, too. You have to be careful about not just cutting it off because you get a couple of cards that say it offends people. You want to try and find a balance.

The narrative for comedies and movie musicals is that these two genres have to constantly prove themselves every time they go into a theater.

MACFARLANE It sure is!

Heading into opening weekend, did you feel that pressure?

HUGGINS The question was, “Will a comedy work in the theaters?” Because they are so easy to access on Netflix. All the comedies now seem to be accumulating on streaming, and so it’s just a different experience from laughing in a crowd. I think [it’s about] re-teaching audiences to buy a ticket and go to a packed theater and see a funny movie.

MACFARLANE All the great comedies that we look at as sort of these benchmark moments in our culture and in our own lives, they’re all theatrical. I can’t really think of a single streaming comedy that has that kind of collective hold on the zeitgeist. Maybe they’re out there and I don’t know them. Streaming comedies, some of them, of course, being very good, just kind of come and go. There’s a tendency to think of the theater as something that’s on its way out, but I really think that’s a mistake.

What lessons do you want Hollywood to take away from the performance of Naked Gun?

MACFARLANE Take risks. Make movies that aren’t just reboots — wait a second. The lesson is that people want something that’s outside the usual fare. We’re just so deluged with superhero movies at this point that. It’s like Bill Murray in Groundhog Day, when he wakes up on that last morning, says, “Anything different is good.” People want a little more variety on their plate.

Fuzzy Door has a varied slate — from a Peacock series based on The Burbs to a doc on Carl Sagan — what are studios and streamers saying they are buying right now?

HUGGINS I haven’t seen a lot of interest in buying a hard comedy. It’s harder to understand what that is if you haven’t done it. People want something that feels original, and then in the same breath, they want something that everybody already loves. It’s about good material, regardless of the genre. We’re betting on our taste.

MACFARLANE Taste is everything. There’s so much examining of marketing data, which, if it was worth a damn, every movie and TV show would be a huge hit. You look at somebody like Dana Walden, who just has really good taste and just continues to succeed and succeed and succeed. At the end of the day, you have this thing called a brain, and if you’re running a production company or a studio it is incumbent on you to use that brain and make decisions based on things that you think are of quality or not, marketing data be damned. People don’t want a genre until they do.

Have there been talks about a Naked Gun sequel?

HUGGINS Absolutely. We’ve now had enough conversations among the filmmakers, and certainly with Pam [Anderson] and Liam, too, when we were selling the movie in the blue sky version of what could happen next, yes, we were thinking about where it could go and what it could be. Akiva and Dan and Doug, our writers, we’re all talking about it.