Category: 5. Entertainment

  • Black Sabbath’s final performance raised £140m, director says

    Black Sabbath’s final performance raised £140m, director says

    Black Sabbath’s final performance raised £140m for charity, according to the event’s musical director Tom Morello.

    Morello, who is also the guitarist for Rage Against The Machine, revealed the figure in a post on Instagram.

    He wrote: “We raised a ton of money for a great cause and so many great musicians, bands and fans all over the world paid tribute to the all time greats.”

    All profits will be equally split between Birmingham Children’s Hospital, Cure Parkinson’s, and Midlands-based Acorns Children’s Hospice.

    Thousands descended on Villa Park in Birmingham for the finale on Saturday, joined by a star-studded line up of metal greats, including Metallica and Slayer.

    Morello’s post said putting the event together was “over a year of hard work but heavy metal was the music that made me love music and it was a labor of love.”

    Acorns Hospice CEO Trevor Johnson previously said the money received would enable the charity “to be there for more children and families.”

    The charity has been open about the financial pressures it has faced as demand for services had more than doubled in the last two years.

    Birmingham Children’s Hospital said it was a “lovely delight” to be one of the beneficiaries of the gig.

    The cash will be used to improve patients’ and families’ experiences in the hospital with work including the ongoing transformation of the front entrance, which will see a large aquarium built.

    Also planned are emergency department improvements, entertainment activities brought in for the children, a new cinema and equipment.

    Cure Parkinson’s is a cause that touches home for Ozzy Osbourne as the singer revealed he had been diagnosed with the disease in January 2020.

    The charity’s director of fundraising and marketing, Andy Simons, previously told the BBC they were “over the moon”, and “so grateful” to be one of the chosen charities.

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  • AI and art collide in this engineering course that puts human creativity first

    AI and art collide in this engineering course that puts human creativity first

    Uncommon Courses is an occasional series from The Conversation U.S. highlighting unconventional approaches to teaching.

    Title of course:

    Art and Generative AI

    What prompted the idea for the course?

    I see many students viewing artificial intelligence as humanlike simply because it can write essays, do complex math or answer questions. AI can mimic human behavior but lacks meaningful engagement with the world. This disconnect inspired the course and was shaped by the ideas of 20th-century German philosopher Martin Heidegger. His work highlights how we are deeply connected and present in the world. We find meaning through action, care and relationships. Human creativity and mastery come from this intuitive connection with the world. Modern AI, by contrast, simulates intelligence by processing symbols and patterns without understanding or care.

    In this course, we reject the illusion that machines fully master everything and put student expression first. In doing so, we value uncertainty, mistakes and imperfection as essential to the creative process.

    This vision expands beyond the classroom. In the 2025-26 academic year, the course will include a new community-based learning collaboration with Atlanta’s art communities. Local artists will co-teach with me to integrate artistic practice and AI.

    The course builds on my 2018 class, Art and Geometry, which I co-taught with local artists. The course explored Picasso’s cubism, which depicted reality as fractured from multiple perspectives; it also looked at Einstein’s relativity, the idea that time and space are not absolute and distinct but part of the same fabric.

    What does the course explore?

    We begin with exploring the first mathematical model of a neuron, the perceptron. Then, we study the Hopfield network, which mimics how our brain can remember a song from just listening to a few notes by filling in the rest. Next, we look at Hinton’s Boltzmann Machine, a generative model that can also imagine and create new, similar songs. Finally, we study today’s deep neural networks and transformers, AI models that mimic how the brain learns to recognize images, speech or text. Transformers are especially well suited for understanding sentences and conversations, and they power technologies such as ChatGPT.

    In addition to AI, we integrate artistic practice into the coursework. This approach broadens students’ perspectives on science and engineering through the lens of an artist. The first offering of the course in spring 2025 was co-taught with Mark Leibert, an artist and professor of the practice at Georgia Tech. His expertise is in art, AI and digital technologies. He taught students fundamentals of various artistic media, including charcoal drawing and oil painting. Students used these principles to create art using AI ethically and creatively. They critically examined the source of training data and ensured that their work respects authorship and originality.

    Students also learn to record brain activity using electroencephalography – EEG – headsets. Through AI models, they then learn to transform neural signals into music, images and storytelling. This work inspired performances where dancers improvised in response to AI-generated music.

    The Improv AI performance at Georgia Tech on April 15, 2025. Dancers improvised to music generated by AI from brain waves and sonified black hole data.

    Why is this course relevant now?

    AI entered our lives so rapidly that many people don’t fully grasp how it works, why it works, when it fails or what its mission is.

    In creating this course, the aim is to empower students by filling that gap. Whether they are new to AI or not, the goal is to make its inner algorithms clear, approachable and honest. We focus on what these tools actually do and how they can go wrong.

    We place students and their creativity first. We reject the illusion of a perfect machine, but we provoke the AI algorithm to confuse and hallucinate, when it generates inaccurate or nonsensical responses. To do so, we deliberately use a small dataset, reduce the model size or limit training. It’s in these flawed states of AI that students step in as conscious co-creators. The students are the missing algorithm that takes back control of the creative process. Their creations do not obey AI but reimagine it by the human hand. The artwork is rescued from automation.

    What’s a critical lesson from the course?

    Students learn to recognize AI’s limitations and harness its failures to reclaim creative authorship. The artwork isn’t generated by AI, but it’s reimagined by students.

    Students learn chatbot queries have an environmental cost because large AI models use a lot of power. They avoid unnecessary iterations when designing prompts or using AI. This helps reducing carbon emissions.

    The Improv AI performance on April 15, 2025, featured dancer Bekah Crosby responding to AI-generated music from brain waves.

    What will the course prepare students to do?

    The course prepares students to think like artists. Through abstraction and imagination they gain the confidence to tackle the engineering challenges of the 21st century. These include protecting the environment, building resilient cities and improving health.

    Students also realize that while AI has vast engineering and scientific applications, ethical implementation is crucial. Understanding the type and quality of training data that AI uses is essential. Without it, AI systems risk producing biased or flawed predictions.

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  • Latest Daniel Craig Knives Out movie Wake Up Dead Man will open London film festival | Film

    Latest Daniel Craig Knives Out movie Wake Up Dead Man will open London film festival | Film

    The latest Knives Out film in the popular sleuthing series starring Daniel Craig as private eye Benoit Blanc will open the 2025 London film festival, it has been announced.

    Wake Up Dead Man: A Knives Out Mystery is the third in the series written and directed by Rian Johnson. Like its predecessors, it is inspired by Agatha Christie murder mysteries but in 2023 Johnson said of the film: “The goal is to strike out in a completely new direction tonally and thematically”. While Craig is returning as Blanc, Johnson has assembled a new cast including Josh O’Connor, Glenn Close, Josh Brolin and Mila Kunis.

    No details of the film’s plot have been revealed, though both O’Connor and Brolin appear to be playing priests. The subtitle Wake Up Dead Man is, like the previous Knives Out film, a reference to pop music. It is the title of a song by U2, in contrast to the Beatles’ Glass Onion of the second film.

    O’Connor and Craig in a scene from Wake Up Dead Man. Photograph: Courtesy of Netflix

    Craig was reported to have received about $100m (£74m) for his appearances in Glass Onion and Wake Up Dead Man, with the rights to both films costing Netflix a combined $450m. The writing and development stage of the third film was delayed by the writers’ strike in 2023, and it was shot in the UK in the summer of 2024.

    The London film festival screening is billed as an “international” premiere, meaning the film is to have a world premiere in North America, most likely at the Toronto film festival in September. The London film festival runs from 8-19 October.

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  • What Superman tells you about American foreign policy

    What Superman tells you about American foreign policy

    IT is hard to take a man in blue tights and red briefs seriously. But in a new movie, released on July 11th, Superman has taken on the extremely serious job of being the world’s policeman. The Man of Steel (David Corenswet, pictured, snapping on the Spandex for the first time) stops one country from invading another. He has done a good thing, he feels, and saved lives. Yet Lois Lane (Rachel Brosnahan, who brings a welcome spikiness to the role) is sceptical of unilateral action: does Superman stop to think about the consequences of getting involved in other countries’ conflicts, she wonders?

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  • English version of animated Chinese hit 'Ne Zha 2' heading to theaters – Reuters

    1. English version of animated Chinese hit ‘Ne Zha 2’ heading to theaters  Reuters
    2. China’s Biggest Blockbuster Has the Film Industry Depressed  Bloomberg
    3. It’s Official: The Highest-Grossing Animated Movie Ever Will Finally Premiere in America  Collider
    4. ‘Ne Zha 2’ Sets English-Language U.S. Release From A24, Michelle Yeoh Joins Voice Cast  Variety
    5. A24 is bringing the world’s biggest animated hit ever back to theaters, now in English  Polygon

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  • Art Basel Qatar names Wael Shawky as artistic director of unconventional inaugural edition – The Art Newspaper

    Art Basel Qatar names Wael Shawky as artistic director of unconventional inaugural edition – The Art Newspaper

    In a left-field move, Art Basel’s newest fair in Doha has appointed the Egyptian artist Wael Shawky as the artistic director of its inaugural edition. Art Basel Qatar (ABQ), a partnership between the Swiss fair brand and two Qatar state-owned enterprises, QC+ and Qatar Sports Investments (QSI), will be held across the M7 and Doha Design District sites from Thursday 5 to Saturday 7 February 2026, with VIP days on 3 and 4 February.

    Shawky, who received widespread critical acclaim for his Egypt Pavilion at the 60th Venice Biennale, is the first artist to be appointed to a leadership position at an Art Basel fair. He will work alongside Art Basel’s chief artistic officer and global director of fairs, Vincenzo de Bellis, to realise the inaugural show.

    “I am an unconventional choice,” Shawky tells The Art Newspaper. Fittingly then, the first edition of ABQ will stray from the traditional fair format: each prospective gallery is being asked to submit a solo artist presentation for a stand of around 33 sq m, in response to Shawky’s chosen curatorial theme of Becoming. “This framework will allow for an exploration of artistic practices in the Mena [Middle East and North Africa] region and beyond,” he says.

    “The flexible format will allow Wael to shape the show how he wants,” De Bellis says, adding that it will bear some resemblance to Art Basel’s Unlimited section. While an initial number of “approximately 50” exhibitors was floated in a May press release, De Bellis expects this number will increase, after QC+ granted the fair more space in the M7 venue.

    M7 in Doha, one of the two venues of Art Basel Qatar

    Courtesy of Art Basel

    It is unclear whether Shawky’s position as artistic director will extend past this edition, as ABQ is a “project that will evolve naturally over time,” De Bellis says. “Coming into this region, we wanted to do things carefully, thoughtfully, go more in-depth and not overwhelm. That doesn’t mean this is the only model that could work.”

    With regards to the gallery selection process, Shawky explains that he and De Bellis will jointly make the initial cut, before deliberating with the selection committee, made up of the following dealers: Lorenzo Fiaschi (Galleria Continua); Shireen Gandhy (Chemould Prescott Road); Daniela Gareh (White Cube); Mohammed Hafiz (Athr Gallery); Sunny Rahbar, (The Third Line); and Gordon VeneKlasen (Michael Werner).

    Can the fair tap into a burgeoning art scene?

    “It makes sense why Art Basel would align itself with Qatar,” Rahbar says. She opened a Doha branch of The Third Line in 2008 that shut two years later. “We were there too early, I think. But Qatar—and the whole region—has grown tremendously since. Qatar also has Al Jazeera and great universities, it has a culturally engaged audience. And I do think there is a collector base now that there wasn’t 18 years ago.”

    Rahbar notes similarities between the format of ABQ and the inaugural Art Week Riyadh, an April selling show held in the Saudi capital. Launched by Kingdom’s Visual Arts Commission, the event asked galleries to bring curated presentations of work, in a model described by some participants as halfway between a biennial and a fair. “Many agree that the format of art fairs will have to change,” Rahbar says. “What we saw in Riyadh, and will see in Qatar, allows for more in-depth learning about artists. I think it’s an appealing way to engage with what is a still a relatively new collecting base.”

    It is not just local collecting habits, but also cultural norms that will be tested with Art Basel Qatar first foray into the Gulf region. Chiefly, whether the Swiss fair brand can freely exhibit work about subjects that are restricted within Qatar, such as depictions of nudity and homosexual relations.

    De Bellis insists that there will be no oversight or restrictions from the Qatar state as to the content of the fair. “It is important for us to maintain a uniformity of standards across all our shows.”

    Rather, it will be up to Shawky, who relocated to Doha last year to launch the contemporary art space the Fire Station, to maintain the “nuances of the region”. Speaking on censorship in the Gulf, the artist says: “I understand there are some limitations here. But I’ve never seen these limitations stop things in terms of the quality of exhibitions in Doha.” Shawky also points out the presence of censorship in the West: “There is no complete freedom anywhere.”

    Unclear financial terms

    The exact relationship between Art Basel and Qatar, most importantly the extent of the financial transactions between the two, remains unclear. “While we do not comment on the financial terms of any partnership, joining forces with leading Qatari entities QSI and QC+ [a cultural commerce organisation] enables us to establish a long-term and sustainable presence in the region,” De Bellis says.

    De Bellis also addresses the fact that the inaugural ABQ will coincide with two of the Global South’s biggest art fairs, India Art Fair in New Delhi and Zona Maco in Mexico City (both held between 5-9 February 2026). “The situation is incredibly unfortunate,” says De Bellis. He explains that the 2026 dates were dictated by exhibitions taking place in M7 venues before and after the fair. In future editions, he continues, Art Basel will work in dialogue with these other fairs to try and avoid clashes.

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  • How to Succeed in Your Career When Change Is a Constant

    How to Succeed in Your Career When Change Is a Constant

    HANNAH BATES: Welcome to HBR On Leadership, case studies and conversations with the world’s top business and management experts—hand-selected to help you unlock the best in those around you.

    Bonnie Hammer is the Vice Chairman of NBC Universal, but her role in the media industry wasn’t always that glamorous. In fact, she’s held just about every title there is in the television industry—from production assistant to producer to president. And if you don’t know her name, you definitely know her work. Throughout the 2000s, she led major networks like USA, Syfy, Bravo, and Entertainment Tonight.

    Hammer is one of the most influential people in media. She joined host Alison Beard on HBR IdeaCast in 2024 to reflect on her decades-long career, and what it takes to navigate and thrive in one of the most disrupted industries—media.

    ALISON BEARD: So at the start of your career, were you looking for a job that would come with a lot of change and dynamism, or was it just something you had to figure out to survive in the industry?

    BONNIE HAMMER: Let’s just put it this way, at the start of my career, I was looking for anything to do that gave me a paycheck. I had a passion that I started with, which was photography, and I figured that somehow I’d make a living that way. So my first jobs out of college were working in a dark room at a commercial photography studio, and it led me to a photo editing job, that was kind of boring too. I really worked at finding something with my passion until I tripped into a position that led me to a job, which led me to a career.

    So I think the first one was giving up a dream that wasn’t leading me anywhere, and kind of what then became my philosophy in life, following the opportunities, and my first opportunity wasn’t exactly shining. I was the lowest grade production assistant on a kid’s math TV show, on public broadcasting in Boston, literally following a dog around the set and cleaning up his poop. I knew it was an opportunity. I was in a television studio and who knew what it could lead to, and I cleaned up the poop with a smile and realized from then on it was about attitude and following opportunities.

    ALISON BEARD: So how did you identify those opportunities that you knew were going to lead you in the direction that the industry was also going?

    BONNIE HAMMER: I didn’t look at it towards leaning me to the opportunities that would help me grow, and I think that is one of the obstacles in the way with I think a lot of young people trying to navigate the workplace. What I did was follow opportunities where I would learn, learn almost anything, new skills, how to do something I haven’t done before, meeting new people that I hadn’t met before, with the hope that one of those opportunities would lead me to the next step, as opposed to seeing it as a ladder where you climb rung by rung by rung to get up to the top.

    I think if you do that, especially these days when industries are changing so quickly, that the likelihood that, that job, that position or even that industry would still be there in 10 or 20 years, is not realistic. So for me, it was taking on different things that at least sounded interesting or had a new skillset that I could learn, so I could broaden myself. And part of it was sometimes it was the only thing available. So do I not take it and do nothing and complain, or do I take it and just see where it leads me?

    ALISON BEARD: And when you could see changes looming, whether it was the rise of cable or the digitization of the industry, I think you went through seven mergers to become what is now NBCUniversal. What did you do to figure out those learning opportunities but also places where you would be safe? How did you try to stay ahead of the change?

    BONNIE HAMMER: Well, I think first and foremost, what people have to do is not fear change. Change is going to come. Whether you want it or not, whether you try to control it or not, your boat is going to be rocked, whether you do it or the waves do it, you’re going to get wet.

    In our world, change is inevitable. So rather than waste time fearing it and complaining about it and being a naysayer, my gut has always been embrace change. Because you have no control doing anything else. Yes, there’s always a moment of “I can’t believe this is happening again.” And as you said, I’ve gone through seven corporate changes, eight different bosses, and somehow still navigated my way through.

    So the first thing was embrace it, meaning, “It’s here, what I have to do is figure out a way that I can fit into this new world.” Which means figuring out what their culture is, doing your homework, talking to people, are they more creative than financial-based? Are they more interested in the bottom line than a great hit? Do they give good feedback and criticism or are they quiet and just watch you? So understand what the culture is and try to accept that.

    Then basically try to figure out where the door’s going to be open, meaning, what are your skill sets? What have you done before? What do they need, and how can you fit into their world? And then try to talk to people, get advice on where and how you can fit into this new culture. The minute you become negative, the naysayer, they’re not going to want you around. The minute you seem positive, optimistic, “I want to learn. This is what I’ve done before. I’d love to fit into your world. Show me how.” It empowers the new powers that be to take you under their wing and want to help you grow you, and have you be part of their new regime. That was my way. It was finding a door rather than walls and obstacles.

    ALISON BEARD: Yeah, and I think what’s so impressive is that you’ve done that, not just when you were a lowly production assistant, but you’ve done that when you were a really senior executive, trying to figure out what a new regime would feel like and work like.

    BONNIE HAMMER: Yes, it happens at every level, and in some ways it’s easier when you’re younger because you can fit in a lot of new areas, but once you have a style of management and you are in a much more senior position, embracing it can be more difficult because you’ve developed your own style. And will that style fit the new regime? Nine out of 10 times, it can, and it will. And I kind of joke that the reason I can be in a room is because I’ve been in so many rooms that I’ve figured out a way where the door is, where a window is, where a crack is, to figure out a way to fit in and join that new culture.

    It doesn’t mean I’m not going to have a voice or I’m going to give up my voice, or not be authentic to me or my style of management. It’s just being open to figure out how my style can integrate with the new style, the new tone. I’ve still always remained Bonnie. I’ve still led my team, my people in the same way, but I had to figure out how to translate their values, their bottom line, their definition of success to all of my people so we could still have fun and do what we do, but have it translate in a way that they understand and get it.

    ALISON BEARD: Was there ever a time, during the industry ups and downs and the mergers, when you were really worried about the future? And if so, how did you stay focused?

    BONNIE HAMMER: You always worry about the future. People keep saying what’s happening now in the business is the biggest change that’s ever happened. AI is going to come in, companies are restructuring, getting smaller and smaller. The truth is that’s happened from the get go. What happened with cable over the decades, that I was lucky enough to be in it, we basically out did broadcast in terms of revenue because we had two sources of revenue coming in, so we were making a lot more money than broadcast was making.

    Then everybody said, Peacock or streamers at large, were going to completely blow away linear TV. Guess what? We’re all going to still survive it, but differently. And because I’ve been around so long, each decade, something else was surely going to kill something else. There’ll always be something new, always be something threatening it. See what it is, learn about it, understand it, and then try to figure out how the two can co survive while you’re navigating your way to see where it really ends up.

    ALISON BEARD: Yeah. So I do want to talk about NBC’s entrance to streaming with Peacock. It’s always difficult with new technology. You don’t want to enter if it’s not going to pan out. You don’t want to be too early, but then you also don’t want to be too late. NBCUniversal did start a bit behind. So how did you approach that challenge as the person who was tasked with creating Peacock?

    BONNIE HAMMER: Well, in hindsight, Steve Burke, Brian Roberts were right to wait. However, for the five years leading up to when we started, I and several other senior people, within the NBC family, were pushing them to jump into streaming. “We’re late, we’re late, we have to do it. Look what’s going on in the world.” And they kind of listened, but not really, until one day Steve said, “Okay, we’re going to do this, and I want you to lead the charges to at least launch it.” And my reaction to him, other than me being one of several who were pushing it was, “Why me?” I am so not a technological buff. I’m a content creator and yes, I’m a leader, but I was very honest saying, “This isn’t my world.” But I think the honesty was what led him to put me in the position.

    Because he knew I knew how to lead, he knew I knew content, and he also knew that I didn’t need to be the smartest one in the room, that I will surround myself with people who knew a lot more than I did, and let them teach me and help me grow a team that can launch it.

    ALISON BEARD: Talk me through your process for making important decisions, whether it goes back to green lighting a show or hiring a key producer or making your own career move, like saying, “Sure, I will take on launching the streaming channel.” How do you weigh the pros and cons or consider information versus instinct?

    BONNIE HAMMER: This has grown over time, and the easiest way for me to describe it is the ABCs all the way to G, of gut. I’ll start with A. Analyze. What are you trying to do, where are you trying to get to, whether it’s a show or a career decision or anything else. And really take the time to figure out what it is you want and why. B is brainstorming, which is my favorite thing because it’s collaborative. Get a bunch of people together and talk about it. What we always did with every single show before we greenlit it, I had every one of my senior people, even people who had nothing to do with creative, sit in a room, read the script before they came in, and we would brainstorm the good, the bad, what we liked, what we didn’t like, et cetera, to just see where people are coming out.

    Then C, compare. What are you trying to do versus what has happened before, either in your life or other shows that were on other networks or other streamers before? Did it work? Why did it work? If it didn’t work, why did it fail? D, which I love as well, find a devil’s advocate. It is what most people do not do, because most people don’t want to hear negative stuff. Find somebody who is going to pick apart whatever you are choosing to do, just to see where the holes are. It’s not so they can talk you out of it, it’s so at least they’re going to give you a side of whatever you’re deciding that might not be in your language at that point or might not be in your mind. E, it’s just the effort that you put into what it is and finding the experts that are in that world.

    So you know what the red lights, green lights are in that decision. Someone who already has a job, someone who’s already produced a show, somebody who is an expert in directing visual effects that you haven’t done.

    F, simple, the facts. You actually have to know the facts of what you’re doing, compared to what has come before. And then G is gut. Trust your gut, especially when you’ve been in that world before, done what you’ve done before. So for me it’s using the two brains, the brain in your head and the brain in your stomach. And when together, you may not be guaranteed success, but you’re definitely going to limit failure.

    ALISON BEARD: So it sounds like also that gut instinct, even if you’re operating in a completely new environment, there are parts of your experience in different realms that will inform it in a really positive way.

    BONNIE HAMMER: Absolutely. I have one – once we were trying to do a show called Political Animals, which everybody on the team was absolutely positive was going to be huge success. It had Sigourney Weaver and Ellen Burstyn. We had a great producer, we had a great director. We did none of the ABCs of gut checking other than check our gut. When we got the ratings, we were absolutely shocked because it did worse than any other show we had ever, ever done before.

    And the first thing I had to do, I owned the failure. Wrote a note to my boss, before the ratings were public, said, “We are devastated. We have no idea how or why this happened. We’re going to figure out what went wrong, but I just want to let you know before the ratings come in officially, we blew it, just totally blew it.”

    The other instance was a show where we all knew, my entire team, the script did not fit USA Network. It was a little too dark, actor wasn’t really known, but he was interesting and quirky. Nothing about it fit what we wanted to do in USA, but the director, writer, we thought, was exceptional. The character involved was fabulous.

    And we made the decision consciously that nothing about this should fit on USA, but it is too good for any other network to get it. And we decided we are willing to take a calculated risk and do this. And what happened was, this is Mr. Robot, which did incredibly well, was a huge success for USA. The conscious calculated risk worked out. And we were willing to fail if we had to because we knew all the ABCs, all the way through gut, of making that decision and we were willing to fail. There were no surprises there.

    ALISON BEARD: And so the contrast with Political Animals is that you didn’t do A through F, you just did G.

    BONNIE HAMMER: Correct.

    ALISON BEARD: You are this person who’s risen to the very top of your industry, and that meant that you went from managing small teams to huge ones, like more than 2000 people. So how did you figure out that transition? You seem like you rely very much on interpersonal connection, collaboration, team culture. How do you maintain all of that as your span of power increases, and make all of those people, who you’re managing, feel as comfortable as you are in managing change in a really difficult dynamic industry?

    BONNIE HAMMER: Well, first you have to maintain the values you had when you were leading a smaller group, meaning collaboration, caring, empathy, creating a high bar for success, but having really good communication in that process. So it’s knowing what your brand or your culture is for managing your team, then teaching that to all your direct reports so they can push it down. There has to be consistency and an understanding. Some of the ways I helped do that – once I got into larger teams and multiple channels that I was managing, I would do what I called Breakfast with Bonnie. And those breakfasts would be once a month with probably about 20 in each breakfast, from executive assistants to directors. And we would sit in a room, I would do a very fun, easy open, I would talk about at the moment what was going on, what was succeeding, what was not succeeding within our own world.

    And then I would open it up to questions, and I would literally say to people, “This room is Vegas. Whatever happens here stays here. Nothing is going to go up to your direct boss or up to anybody higher in my room. I need to understand what’s working and what’s not working in our division. And I know you guys are truth tellers, so tell me what’s happening, what’s working, what’s not. What messages are you getting? Do you feel comfortable? Do you feel like you’re growing?” I wanted to hear the truth. And eventually somebody would raise their hand and open up and tell me the truth of a problem that existed or an attitude, or something that wasn’t happening that should happen. And I would learn about what’s happening at the more junior levels so I could fix it, or at least I’d be aware of it.

    Because it wasn’t bubbling up to my level, I didn’t know about it. And I got to know a whole lot of people on the lower levels. And because I went through every single level getting to where I am, I appreciated everything that other people do on the lower levels that most people don’t get are so important to the product. So I did that for years and it worked incredibly well. So you have to articulate your values, people have to understand your culture, and you have to push those values down, all the way to the entry-level people as well. When you do that, people stay within that culture, and want to stay and grow within your world for a long time.

    ALISON BEARD: So it sounds like you’re willing to hire people who have different leadership styles than you. What specifically do you look for to make sure that they’re going to be the people who approach challenges the way you do?

    BONNIE HAMMER: Well, I think often people hire people because of skillset, or in the early stages, because of degrees or the school they went to. Yes, skillset is important, basic smarts, intelligence, but for me it’s a quality of a person. When they come in, are they willing to listen or are they just going to babble about themselves? Do they give other people credit in the conversation you have with them or do they take credit for themselves? I look for tone. I look for somebody who has some grace. I look for someone who I think can be trusted as a team member who’s willing to collaborate. So listening rather than talking, asking smart questions that shows they want to learn, all for me go way above any kind of degree or skillset experience.

    ALISON BEARD: Yeah. And when you have team members that you don’t see embracing change in the way you want them to, how do you give them critical feedback? What’s the key to doing that well?

    BONNIE HAMMER: Well, I think first and foremost, you have to give that feedback. And I think oftentimes, in the workplace, people watch, they judge, but don’t necessarily have real conversations with those that work with and for them. And they may wait for the end of year review, but I don’t think that’s enough. You have to have the tough conversations with people who you think have the possibility to grow. And even those you might not think can grow, but you should give them another try to see, to let them know what’s going on or not going on. Ask them how are they doing? How do you think you’re doing here and why? And then tell them, “Well me tell you how I see it, and I just want to help you learn and help you grow.” I don’t believe people can grow without a little tough love and being told the truth, but it should come in a helpful, useful, positively tonal way.

    ALISON BEARD: I feel like one real struggle for managers now is working with people who are very, very good at what they currently do, but need to learn something new. For example, it’s me, I’m an excellent editor, I’m a great podcast host, hopefully, and I need to learn GenAI. I need to learn these new technologies, but it’s easy for me to rest on my laurels. So how do you push those people who are great performers, to do more and challenge themselves?

    BONNIE HAMMER: Well, first and foremost, I always look for those people who will raise their hands and say, “I want to learn. I don’t know anything about AI yet, and what’s the best way to do it?” It starts with a conversation that says, “You’re doing amazingly well. Everything I ask you to do, within your skillset, your task, your title, is great, but the world is changing. And I think for you to grow, and I think for you to have a runway within this world, this company, this skillset, you’ve got to start reaching a little out of your comfort zone. And here’s several ways in which you could do it.

    It’s basically approaching that individual in a way that, again, doesn’t sound like, “Oh my God, I’m going to lose my job if I don’t learn this skillset,” but in a way that is offering them the possibility. And if they jump at it, fabulous. If they don’t, you can still give them a little nudge, but if they really don’t take you up on it, then as a leader, as a boss, you have to realize what their limitation is.

    ALISON BEARD: I just want to say for the record, I attended a large language model lunch and learn this week, and I also went to a conference where I learned about all of these AI tools. So I’m trying. What advice do you give young people who want careers in media or any other really fast-changing industry today?

    BONNIE HAMMER: My advice is to understand that you have to work at your worth to get what you want. That in order to stand out, you have to be seen, which means coming in early, raising your hands for opportunities, staying late, not seeing anything beneath you, particularly in the first few years during those learning years –

    ALISON BEARD: Yeah. A reminder that Bonnie Hammer picked up dog poo in her first job.

    BONNIE HAMMER: Yeah. Yes. Did I complain to my friends and family? Of course I did, but when I showed up on the set, I did it with a smile, and anything they asked me, to run out for three lattes, I did it knowing that if I was optimistic, if I was positive, they would want to have me around. And if you are positive, people are going to want you continue to have you around. Then you have to perform. If you’re asked to do something, do it. Do your homework, do it well. If you’re going to miss a deadline, don’t BS about it. Basically say, “I’m not going to have it in on time. This is the reason. I’ll definitely have it for you by,” give a date.

    People have to trust you, and then you have to master the skill set, whatever it is. Then raise your hand to learn as much as you can for opportunities outside of your skill set, even if you’re not going to get extra pay for it, because that too will show people you have the energy, the eagerness, the desire to learn more. Make sure that you don’t go into a situation pretending that you know what you can do if you can’t do it. Ask questions. Learn. Show people what you know and tell them what you don’t. It’s very hard to win back trust, but it’s very easy to empower others to want to help you and teach you. I think it’s important to remain humble, have humility, even along with confidence. You don’t need entitlement and arrogance. That makes a huge difference in the middle part of your career in terms of how you navigate it.

    And once you get a little bit more senior, then it really is the ABCs of gut in terms of how you grow, and learning how… Winning is wonderful, but you also have to learn how to lose, learn from losing, so that you can move forward and understand all that is, is a learning experience. It was an obstacle, but it’s not a stop sign. It’s not a dead end. Use it to challenge yourself to find a way to win in a different way. And then ultimately, it’s just embracing change. Because it’s going to come for you no matter what you do. So learn how to run towards it and embrace it.

    ALISON BEARD: Well, Bonnie, that’s such great advice. So many pearls of wisdom in this conversation and in the book. I really appreciate you coming on the show.

    BONNIE HAMMER: Alison. Thank you for having me. I always enjoy talking with you.

    HANNAH BATES: That was NBC Universal Vice Chairman Bonnie Hammer, in conversation with Alison Beard on HBR IdeaCast. Hammer is also the author of the book 15 Lies Women are Told About Work: …and the Truth We Need to Succeed.

    We’ll be back next Wednesday with another hand-picked conversation about leadership from Harvard Business Review. If you found wthis episode helpful, share it with your friends and colleagues, and follow our show on Apple Podcasts, Spotify, or wherever you get your podcasts. While you’re there, be sure to leave us a review.

    When you’re ready for more podcasts, articles, case studies, books, and videos with the world’s top business and management experts, find it all at HBR.org.

    This episode was produced by Mary Dooe and Me, Hannah Bates. Curt Nickisch is our editor. Music by Coma Media. Special thanks to Maureen Hoch, Rob Eckhardt, Erica Truxler, Ramsey Khabbaz, Nicole Smith, Anne Bartholomew, and you – our listener. See you next week.

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  • F1’s $293M 10-Day Haul Lands Apple Its First Box Office Smash, Giving Formula 1 Huge U.S. Visibility

    F1’s $293M 10-Day Haul Lands Apple Its First Box Office Smash, Giving Formula 1 Huge U.S. Visibility

    Apple’s (NASDAQ:AAPL) racing drama “F1 the Movie” roared into theaters, generating an impressive $144 million in global revenue, which included $55.6 million in North America, making it the tech company’s biggest opening ever for an original film. After 10 days, it has amassed $293 million — amongst Pitt’s highest-grossing movies — according to Screen Rant.

    Footage included real Formula 1 cars, immersive paddock access shot at actual F1 races.  Its success could have changed the fortunes for both the sport in the U.S. and Apple+, Deadline reports.

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    Once considered a niche sport, F1 has gradually gained widespread public recognition. Liberty Media (NASDAQ:LLYVK) and Delta Topco Ltd.’s acquisition of F1 in 2017 and  Netflix (NASDAQ:NFLX) series “Drive To Survive” reshaped perceptions, paving the way for sold-out races in Miami, Austin, Texas, and Las Vegas—drawing more than a million fans combined, The Wall Street Journal reported.

    The timing couldn’t be better: as the film climbs the box office charts, American interest in F1 is accelerating. According to The Journal, talks are underway for more U.S. races—and perhaps a future American F1 driver to further energize fan engagement.

    Apple reportedly invested over $200 million in production and marketing, backed by an ambitious distribution strategy that included Imax (NYSE:IMAX)  theatrics and cross-promotion during the company’s Worldwide Developers Conference. Imax took the lead, generating $28 million globally —19% of total revenue — and demonstrated premium viewing demand, even with higher ticket prices — $19.51, on average, according to Business Insider.

    Trending: BlackRock is calling 2025 the year of alternative assets. One firm from NYC has quietly built a group of 60,000+ investors who have all joined in on an alt asset class previously exclusive to billionaires like Bezos and Gates.

    Before this win, Apple’s theatrical track record was shaky. Major titles like “Argylle,” “Fly Me to the Moon,” and even Martin Scorsese’s “Killers of the Flower Moon” underperformed, prompting Apple to reevaluate its investments in movies.

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  • Meet The Cast Of Hybe Latin America’s Reality Series

    Meet The Cast Of Hybe Latin America’s Reality Series

    Hybe Latin America has set Santos Bravos as the title of their new music project and the name of the all-male music group that emerges from the reality series.

    The series will follow 16 rising Latin talents from Mexico, Colombia, Brazil, Venezuela, Argentina, Peru, Spain, and the United States as they showcase their abilities in hopes of making the cut in being part of a new Latin pop group.

    Santos Bravos officially begins today with the launch of official social media platforms (@santos_bravos), where fans will be able to follow the boys’ journey from the beginning.

    RELATED: ‘Top Chef VIP’ Season 4 Cast Photos: Meet All The Celebrities For Telemundo’s Hottest Competition

    Starting in August, the 16 artists will enter a creative boot camp designed to challenge and refine their musical, emotional, and performance abilities. The entire journey will be captured through an interactive, digital-first experience, as well as in long-form episodes that offer an intimate window into the process.

    “Our goal is not just to create a group, but to guide young Latin artists through a real transformation — artistically and personally. Santos Bravos is about authenticity, emotion, and connection,” said Bang Si-Hyuk, Chairman of HYBE.

    RELATED: ‘Big Brother’ Season 27 Cast Photos: All The Houseguests Confirmed For CBS Competition

    Along the way, the Santos Bravos hopefuls will be mentored by an international team of creative people like High School Musical director Kenny Ortega (Creative Director). Johnny Goldstein, a producer and songwriter who has collaborated with Shakira and Daddy Yankee, will serve as Music Director. The vocal coach of the all-male cast is set to be RAab Stevenson, who’s worked with Justin Timberlake, Rihanna, and SZA.

    Serving as showrunner is Jaime Escallón, whose credits include The X-FactorSurvivor, and Vix’s Wendy, Perdida pero Famosa.

    RELATED: ‘Pase A La Fama’ Sets Ana Bárbara, Adriel Favela & Horacio Palencia As Judges For Telemundo Competition Searching For Next Mexican Banda

    Santos Bravos is the first time Hybe brings its artist development system to Latin America. The South Korean entertainment company is behind global acts like BTS, Seventeen, and Enhypen.

    Hybe also recently partnered with Telemundo’s Pase a la Fama, a reality competition dedicated to finding the next Mexican banda global sensation.

    Scroll through the photo gallery below to meet all the Santos Bravos hopefuls.

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  • The Strad – Consone Quartet: it’s not every day that a period string quartet plays music by a living composer

    The Strad – Consone Quartet: it’s not every day that a period string quartet plays music by a living composer

    Discover more Featured Stories like this in The Strad Playing Hub 

    It’s not every day that a period string quartet gets to play music written by a living composer. We spend so much of our lives working with historical equipment, poring over old scores and performing editions, listening to early recordings and trying to figure out what a composer was really after. What inspired them. What sound-world they imagined. To have the composer in the room with you, to be able to ask questions and to explore the music together, is both a novelty and a privilege for us.  

    We were thrilled when Oliver Leith agreed to write us a piece in our 10th anniversary year. The brief was… well, brief – something chaconne-inspired. This was in honour of our late friend, Philip Yeeles, who was a fan of chaconnes and of the Consone Quartet.

    The chaconne theme is subtle, but palpable. Oliver describes the piece as ’seven endings — or different perspectives of the same end; close ups, swooping, rolling oil landscapes and glimpses.’ Of the Chaconne he says “the image started as a look at the idea of the chaconne, a ‘form’ that, over centuries has been pulled through bushes of different shapes, to become a feeling more than a codified thing… There are familiar chaconne tropes, repetitions, descending drooping laments, but those things are more about a feeling than they are form.’ The writing is atmospheric and colourful, somehow perfectly suited to the visceral timbre and blend of our gut strings.  

    The writing is atmospheric and colourful, somehow perfectly suited to the visceral timbre and blend of our gut strings

    This commission is just one part of our anniversary celebrations. Over the last three years we have been associate ensemble at Paxton House in the Scottish borders, and 2025 marks our final year. We have curated programmes each summer, featuring one of Schumann’s three quartets each time. With Schumann as our common denominator, we have explored his relationships with his contemporaries and also the way in which he was inspired by (and in turn provided inspiration) for other composers throughout history. It has been a treat to plan programmes with such a long scope, creating a narrative that spins through the three years of our residency. We have also enjoyed getting to know the Paxton audience better and seeing familiar faces each year in the same magical setting. 

    Collaboration is a big part of what we do and so we have invited lots of our musical colleagues to come and join us in Paxton: we have explored string sextets (including a new commission by Gavin Bryars) with violist Francesca Gilbert and cellist Alexander Rolton and we have delved into the lieder world with song arrangements alongside mezzo-soprano Helen Charlston. This year we team up with Philip Higham for Schubert’s Quintet in C major and Katherine Spencer for the Brahms Clarinet Quintet.  

    NEW (18)

    Aside from our Paxton collaborations, we are currently touring a programme with keyboard player Kristian Bezuidenhout. The partnership has taken us to Germany and Austria, and in the autumn we will travel to the USA and Canada. Later this year, we will be joined yet again by Francesca Gilbert and Alexander Rolton for Brahms’ B flat major sextet and Schoenberg’s iconic Verklärte Nacht. The piece is, unusually, programmatic; the writing complex, lush and highly chromatic – great fun on gut strings!  

    We have been recording more than ever this year: the second volume in our Mendelssohn CD cycle with Linn Records will be out later in the autumn and we will record the third and final disc of the set in January 2026. We are excited to record a lieder programme with fellow BBC New Generation Artist, Helen Charlston, on BIS records later in the year. Bill Thorp, a great friend of Consone, has lovingly arranged songs for us by both Clara and Robert Schumann, as well as Fanny and Felix Mendelssohn, and they work so well for string quartet.

    The Consone Quartet performs as associate ensemble at Music at Paxton on 19 and 20 July 2025. Find out more here.

    Best of Technique

    In The Best of Technique you’ll discover the top playing tips of the world’s leading string players and teachers. It’s packed full of exercises for students, plus examples from the standard repertoire to show you how to integrate the technique into your playing.

    Masterclass

    In the second volume of The Strad’s Masterclass series, soloists including James Ehnes, Jennifer Koh, Philippe Graffin, Daniel Hope and Arabella Steinbacher give their thoughts on some of the greatest works in the string repertoire. Each has annotated the sheet music with their own bowings, fingerings and comments.

    Calendars

    The Canada Council of the Arts’ Musical Instrument Bank is 40 years old in 2025. This year’s calendar celebrates some its treasures, including four instruments by Antonio Stradivari and priceless works by Montagnana, Gagliano, Pressenda and David Tecchler.

     

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