AVAILABLE TO RENT OR OWN ON VOD PLATFORMS IN NORTH AMERICA APRIL 1, 2025
By: Valerie Milano
Palm Springs, CA (The Hollywood Times) 2/10/2025 – Since the dawn of the entertainment age, the stage mother phenomenon has been part of the legacy of many child actors. They come in a variety of forms, with one of the most prevalent being the mother who tries to manage every moment of their child’s budding career.
These “manager moms” often go as far as to dictate every moment and activity of their child’s life, from where they go to school and how they learn their craft to what they do in their “free” time. You might say these are micro-manager moms. Names like Ethel Gumm, Dina Lohan and June Shannon are familiar to millions for their managing of their daughters – Judy Garland, Lindsay Lohan and Alana “Honey Boo-Boo” Thompson, respectively.
However, the exploits of these mom’s pale in comparison to Ronnie Lipstick, the fictional mom in filmmaker Natalie Bailey’s feature-length Australian dark comedy Audrey. The mother of two young girls, Ronnie (played by Jackie van Beek) fancies herself as a “Mother of the Year” type. She has big dreams for her daughter, Audrey (Josephine Blazier), but no real expectations for her other disabled daughter, Norah (Hannah Diviney).
Audrey wants nothing more than to be a regular teenager, while Norah aspires to be more than what her mother has in mind for her. When Audrey suffers an accident and falls into a deep coma, obsessed stage mother Jackie decides to keep her dreams for her daughter alive by assuming Audrey’s social media identity.
Throw in a sex-obsessed dad (Jeremy Lindsay Taylor) who is prototypically hen-pecked, and what ensues is a sometimes tragic, sometimes disturbing but always funny story that takes the audience on a wild ride as this quite dysfunctional family struggles to keep it all together. Bailey, who is known for her TV series work in the United Kingdom, the US and Australia, joined The Hollywood Times to talk about her film while attending this week’s Palm Springs International Film Festival, where Audrey is screening ahead of its North American general release in March.
Click below for our exclusive interview:
Bailey, who directs the film and shares co-producer credits with writer Lou Sanz, who penned the film’s script, said the story was pitched to her by Sanz during a “speed dating event” for writers and producers.
When we first meet Ronnie and Cormack Lipsick (Jackie van Beek and Jeremy Lindsay Taylor), the Australian couple has respectively reached what seems like the most miserable depths of female and male existence.
“She pitched to me several ideas, most of them for TV, but this film really took my interest,” Bailey said in an exclusive interview, conducted as she was riding to the festival in an Uber. “I loved it. I loved Lou’s sense of humor, just as a person. I could tell she was going to be a great writer. She’s funny, which comes from being a sand-up comedian, so I was really excited about reading it.”
The film certainly reflects the “Australian sense of humor,” often characterized as dry, irreverent and ironic. Best exemplified by some of the works of performing artists like Barry Humphries and Paul Hogan, and by character creations such as mock-talk-show hosts Norman Gunston (Garry McDonald) and Roy and HG (John Doyle and Greig Pickhaver.
Talented young Australian actress on the rise Josephine Blazier brings bundles of barbed charm and energy to the new Australian black comedy Audrey.
Bailey said that so far, American audiences have responded favorably. Audrey premiered last March at the SXSW Film Festival, and Bailey said her film, “Totally fits into that American Indie cinema bracket. I feel like audiences have responded well to it.”
As for the brilliant cast, Bailey said she had not worked with van Beek and Taylor prior to making this film.
Peggy Phillips – The Hollywood Times February 8, 2025
Leaving the House of Blues pre-party, I made my way to the Grand Theater in Anaheim for the Metal Hall of Fame Awards. The energy in the air was already electric.
The first thing I spotted was Skip Pas from West Coast Leather, mid-interview at the step-and-repeat, his signature Rockstar jackets unmistakable. Beside him stood Raquel Figlo, a powerhouse in PR, alongside Riot Stitch, the ever-brilliant Sherri Lu, whose designs fuse metallic aesthetics with avant-garde Hollywood glam. Riot Stitch was set to make history, hosting the first-ever Metal Catwalk at NAMM 2025.
Frankie James Photography
Then, as I turned, my eyes locked on a sight that stopped me in my tracks.
Four striking musicians, with platinum blonde hair like mine, only longer, dressed to absolute perfection. They had the attitude of Sunset Strip legends but with a fresh edge. No towering hair—just raw, magnetic presence and sculpted muscles. They looked like they belonged on a stadium stage.
I knew I had to interview them. But first, they had a job to do—opening the Metal Hall of Fame Awards.
WICKED Takes the Stage
The room buzzed with anticipation as the band stood motionless—until Scotty V. struck the first chord on his guitar and Gunnar slammed his drumsticks down like a lightning strike. Then came Chad Michael’s voice—powerful, melodic, and soaring. I was immediately hooked.
Danny Doll (bass) kept the energy pulsing, strutting around the stage with his hair flying as he and Scotty joined in on backup vocals, their harmonies adding even more intensity. I knew a killer guitar solo was coming from Scotty, and I waited eagerly for it to hit. WICKED delivered a high-energy, theatrical performance, their stage presence was electric and completely captivating.
The band’s chemistry was undeniable. Their influences were clear—KISS, Thin Lizzy, Alice Cooper—but with a modern twist that made them stand out. A fusion of ’80s hard rock, ’90s power pop, and contemporary influences. Watching WICKED, I felt that same timeless rock ‘n’ roll energy.
I’ve seen some of the greatest rock bands live—AC/DC, KISS, Guns N’ Roses, Def Leppard, Aerosmith, Van Halen, and of course, Alice Cooper. I was one of the featured dancers in Alice’s “Man Behind The Mask” video—an 18-hour shoot where Alice made sure to hang out with all of the talent instead of hiding in his trailer. He’s a legend and a great guy.
Meeting WICKED
Gunnar (Drummer), Danny Doll (Bass), Peggy Phillips (The Hollywood Times), Chad Michaels (Vocals & Guitar), Scotty V (Lead Guitar)
After their set, I made my way to the red carpet, determined to grab an interview. And I did.
I was blown away by how sharp they were—not just as musicians, but as a self-made, independent powerhouse. They live together, built their own studio, and produce everything themselves. The band’s chemistry was undeniable. Hailing from Rochester, NY, Chad Michael and Danny Doll, brothers and the band’s founders, started WICKED in 2012 before adding Scotty V. and Gunner to the lineup.
Everywhere I turned, I saw WICKED flyers. They had business cards in hand, promo materials ready, and a clear vision. This wasn’t a band waiting for someone to hand them a record deal—they were doing the work, building the brand, and creating their destiny.
WICKED: The Future of Rock & Roll
As I left the Metal Hall of Fame Awards, one thing was clear—WICKED is the real deal. From their electrifying performance to their sharp sense of branding, this band isn’t just playing rock & roll; they’re living it. They have the talent, the drive, and the vision to take their music to the next level.
Alongside one of my absolute favorites, DIRTY HONEY (@dirtyhoneyband), WICKED is keeping the spirit of high-energy rock alive. They’re proof that the next generation of rock & roll is in good hands.
If you get the chance to see them live—take it. This is a band you’ll be hearing a lot more about.
Here’s the Video Link to the Interview… Enjoy!
Meet the Band
Chad Michael “The Queen of Hearts” – Vocals, Guitar
The late Alan Rickman said it best as Professor Snape in the movie Harry Potter and the Prisoner of Azkaban when he said: “Vengeance is sweet.”
Two years ago, the Eagles suffered a disheartening loss to the Chiefs in the Super Bowl, something that clearly affected them the next year when they suffered an unexplainable collapse. Flashforward to Sunday night, the Eagles got their revenge as the Chiefs’ dreams of a three-peat fell apart in the first quarter (fun fact here: technically, the only team to three-peat in the NFL is the Green Bay Packers…they just did it at the dawn of the Super Bowl era). This was not a great night for Patrick Mahomes, but it wasn’t a great game for Saquon Barkley either. However, it was definitely a good game for the Eagles’ defense, who shut down the Chiefs for nearly the whole game. Mahomes completed 21 of 32 passes for 257 yards, 3 touchdowns, and 2 interceptions. However, a lot of his status came in garbage time as Mahomes was held for nearly three quarters. The other star to watch going into this game was Saquon Barkley, but he was also held in check; rushing only for 57 yards on 25 carries (very uncharacteristic of him). It was a big night though for Jalen Hurts, who completed 17 of 22 passes for 221 yards, 2 touchdowns, and an interception. However, Hurts also rushed it himself 11 times for 72 yards and a touchdown; capping off an impressive performance worthy of a Super Bowl MVP.
The Eagles dominated this game from start to finish as the Chiefs’ lucky streak finally ran on empty. At one point in the game, the Eagles had more first downs than the Chiefs had TOTAL YARDS! On a side note, happy birthday to Eagles rookie cornerback Cooper DeJean, who intercepted Patrick Mahomes and returned it for a touchdown (that is one amazing birthday present). Full credit to the offensive and defensive lines of the Eagles for helping their team complete the most dominating performance we’ve seen in the Super Bowl in a while. This is definitely an Eagles team that will dominate for years to come as they become the third team with multiple Super Bowl wins in the last 15 seasons (the Chiefs obviously being one and the other Patriots led by Tom Brady being the other). If they can stay healthy and keep this going, they have a more than good shot of running it back next year.
NEW ORLEANS, LOUISIANA – FEBRUARY 9: Jalen Hurts #1 of the Philadelphia Eagles and head coach Nick Sirianni celebrate with the Vince Lombardi Trophy after defeating the Kansas City Chiefs 40-22 in Super Bowl LIX at Caesars Superdome on February 9, 2025 in New Orleans, Louisiana. (Photo by Kevin Sabitus/Getty Images)
So, what do both teams do now that the offseason has officially begun for the NFL. Let’s start with the Chiefs. This is a little tricky, as I think there is a lack of chemistry at times as the Chiefs never seemed to click for an entire game at all this season. Granted, everyone has bad, but almost losing to a bottom feeder like the Carolina Panthers? (Good grief…) But if you’re looking for something they can do to improve the team with a signing or a draft pick, I would say their offensive line could use some work. We just saw the Eagles tear their lines to shreds, and if they don’t do something to improve it: this game will provide a blueprint for teams like the Bills and the Ravens to finally have THEIR revenge on the Chiefs. If they’re looking for someone in the draft that can fix that, several analysts have said good things about Josh Conerly Jr. from Oregon, who only allowed one sack in regular season play.
Philadelphia Eagles quarterback Jalen Hurts (1) shakes hands with Kansas City Chiefs quarterback Patrick Mahomes (15) after Super Bowl LIX at Caesars Superdome. (Photo: Mark J. Rebilas)
As for the Eagles, first things first: party (after all, the Dodgers had a big one, so why shouldn’t the Eagles). Then after everyone lets it sink in and gets it all out of their system…back to work. Zack Baun has had an amazing season at linebacker, and the Eagles would be foolish to let him walk. Another interesting aspect to look at is Tanner McKee. He has made a little noise in his limited opportunities with the Eagles since being drafted in the 2023 NFL Draft. If they decide to make him the number two man behind Hurts, then the Eagles may trade Kenny Pickett…and possibly make a lot off of him as this is a VERY needy quarterback market this offseason and not nearly enough talent entering the draft to fulfill it.
FAVORITE SUPER BOWL COMMERCIALS
Not only is the Super Bowl time to watch the last two teams standing duke it out for the ultimate prize, it’s also a time for highly expensive commercials. We had a couple that made us laugh, cry, and reflect. My favorite this year goes to Homes.com with award-winning actor Morgan Freeman (because…come on, you find a bigger star than a guy who played God). One that touched me was the Stand Up to Hate commercial featuring Snoop Dogg and Tom Brady. It was a passionate message and one we all need given the state of things. Snoop really drove the point home at the end of the commercial when he said that what he really hated was that they even had to make a commercial like this.
WHAT TO WATCH GOING FORWARD
So, now that the football season is done…what now? Well, the new (famed former wrestler and star of both Moana movies…you’re welcome!) starts up again at the end of March. The first game will be on March 28 as the St. Louis Battlehawks face off against the Houston Roughnecks. The opening weekend for the UFL ends on March 30 with the defending champion Birmington Stallions going on the road to take on the DC Defenders. Also, hockey and basketball are still going on with plenty of games left until we get to the big playoff push.
On the note of basketball, disheartening news for Lakers fans. Over the weekend, the news broke that one of their big trade deadline deals fell through as the Lakers rescinded the trade for center Mark Williams from the Charlotte Hornets due to Williams failing the physical exam. While his back wasn’t a problem as it has been recently, the physical did show multiple other issues. Because the deadline passed, the deal was not allowed to be amended because of whatever issues the Lakers found in William’s exams. It also means that the Lakers will be keeping what they would have given to the Hornets for Williams: rookie Dalton Knecht, Cam Reddish, a 2030 draft pick swap, and a first rounder in the 2031 draft.
Still need more? Well, good news for certain sports fans. As the sun goes down on another NFL season…it rises on a brand-new season for MLB with those magical words: “Pitchers and Catchers report.” Another Spring Training is upon us as the Chicago Cubs’ pitchers and catchers reported to camp on the same day as the big Super Bowl clash. On Tuesday, the Tampa Bay Rays’ pitchers and catchers also report to training camp, but they won’t be the only ones. The reigning World Series Champion Los Angeles Dodgers will also start their training camp on that day. However, don’t be surprised if the Dodgers ALL report early, as it has been in recent years, as the champs are eager to get to work to defend their crown. The season starts March 18-19 with the Tokyo Series between the Cubs and the defending champion Dodgers. Considering that the Dodgers have three of Japan’s biggest stars on their roster…it can be argued that this will be a home opener for the Dodgers (but without the ring ceremony).
LEAGUE MOURNS LATE BEARS OWNER
Virginia Halas McCaskey
Several days before the big Super Bowl matchup, sad news was reported as longtime Chicago Bears owner Virginia Halas McCaskey passed away at the age of 102. She was the owner of the Bears since inheriting the team after the death of her father, George Halas, on October 31, 1983. She spent much of her time as the owner keeping out of the spotlight, but the Bears did win a Super Bowl under her watchful eye in 1986, defeating the New England Patriots by a score of 46-10 (to which Bears fans thanked the football gods for Richard Dent). NFL Commissioner Roger Goodell said in a statement, “Virginia Halas McCaskey, the matriarch of the Chicago Bears and daughter of George Halas, the founder of the NFL, leaves a legacy of class, dignity, and humanity. Faith, family, and football – in that order – were her north stars and she lived by the simple adage to always ‘do the right thing.’ The Bears that her father started meant the world to her and he would be proud of the way she continued the family business with such dedication and passion. Our thoughts and prayers go out to the McCaskey and Halas families and Bears fans around the world.” McCaskey was honored before the Super Bowl, as were the families of the victims of the mayhem on New Year’s Day in New Orleans.
Los Angeles, CA (The Hollywood Times) 2/10/25 – The year Jamie Foxx hosted the Academy Awards, I had the unforgettable experience of attending. It was a night of pure Hollywood magic, and I felt every bit a part of it in my luscious designer gown by Terri King. Never had I seen the city so elegantly dressed—this was the very reason I had moved to Hollywood in the first place. When I arrived in the ‘70s, I caught the tail end of its extreme glamour, and on this night, that magic was alive once again.
I went alone, which wasn’t ideal, but when an Academy member handed me a ticket, there was no way I was going to miss this. The venue was packed with stars, but I’ve never been great at sitting still. Instead, I found my way to the bar—always the best place to meet interesting people. The atmosphere was electric, the conversations lively, and the food. Absolutely unforgettable. Wolfgang Puck had outdone himself, serving dishes so exquisite that I can still taste them in my mind.
The lobby buzzed with excitement, offering scrumptious cocktails and massive screens streaming the ceremony. It was a space where you could mingle, sip on something delicious, and watch the event unfold from a different perspective. Meanwhile, my seat filler was absolutely thrilled to be caught on camera—probably more excited about my seat than I was!
The Academy Awards have long been a spectacle, blending prestige with moments of humor and unexpected surprises. Over the years, the Oscars have given us everything from Jennifer Lawrence’s infamous tumbles to Angelina Jolie’s iconic leg pose. Who could forget Ryan Gosling’s electric “I’m Just Ken” performance or John Cena’s nearly nude comedic bit while presenting Best Costume Design? These moments remind us that while the Oscars celebrate cinematic excellence, they also serve as a platform for entertainment, laughter, and a little bit of chaos.
Looking back, that night was more than just an awards show—it was an experience, a reminder of why Hollywood still holds its magic. And even though I walked in alone, I left with stories that would last a lifetime.
Los Angeles, CA (The Hollywood Times) 2/9/25 – Sundance has long been a launchpad for films that challenge, inspire, and illuminate the complexities of the human experience. We’re Not Done Yet, the striking debut from co-directors Sofia Camargo and Joseph Longo, is no exception. A deeply personal and unfiltered exploration of perseverance, identity, and the power of human connection, the film pulses with urgency and authenticity, making it one of the most compelling selections of the festival.
A highly intimate and personal love letter about the art of reconnection.
Joseph described how the creative partnership between he and Sofia formed. “I think our sensibilities very much align and it made a lot of sense pretty early on… I think you should come and join me as a co-director.”
At its heart, We’re Not Done Yet is a story of survival—not just in the physical sense, but emotionally and spiritually. The film immerses its audience in a world where the past collides with the present, forcing its characters to confront wounds both fresh and buried. Camargo and Longo craft a narrative that feels at once intimate and universal, giving voice to struggles often left unspoken.
Sofia explained the film’s title and themes this way. “I think that the title comes from Joseph’s attempt to portray something that is not resolved… We have moments of transformation and understanding, but that doesn’t mean they’re not going to fight again, because I think that’s part of the way we are with our parents.”
Joseph Longo with Sofia Camargo on the We’re Not Done Yet set watching Barbara Sukowa’s performance on the monitor
The performances are nothing short of revelatory. The cast delivers raw, lived-in portrayals that elevate the film’s emotional depth. Every glance, hesitation, and moment of vulnerability feels achingly real, a testament to the directors’ ability to draw out deeply human performances. Their commitment to authenticity is evident, making We’re Not Done Yet as much an emotional experience as it is a cinematic one.
Visually, the film adopts a naturalistic style that enhances its immersive quality. Cinematography that lingers just long enough on unspoken moments allows the story to breathe, while the sound design and score work subtly to heighten the film’s emotional resonance. The direction is assured yet unintrusive, letting the weight of the narrative unfold without manipulation.
Beyond its narrative power, We’re Not Done Yet is a statement—a declaration that the past does not define the future and that even in our darkest moments, we are not alone. The film’s title speaks volumes: it is not just about its characters, but about all of us. We are all, in some way, unfinished, still fighting, still pushing forward.
In a festival filled with daring and innovative storytelling, We’re Not Done Yet stands out as a deeply moving and necessary film. Camargo and Longo have crafted a work that lingers long after the credits roll, leaving us with a simple yet profound truth: the fight isn’t over, and neither are we.
Palm Springs, CA (The Hollywood Times) 2/9/25 – Patricia Beckmann Wells’ The AI Fairytale Mombomb, Part 1 is an animated short that defies conventional storytelling with its sharp wit, bold visuals, and thought-provoking take on artificial intelligence and motherhood. A Slamdance selection, the film marks a fascinating entry into the ongoing conversation about AI’s growing influence on human identity, autonomy, and the roles we play in society.
Click below for our exclusive interview:
At its core, Mombomb! is both a satire and a warning, wrapped in an eccentric, visually arresting package. Drawing from personal experience, Wells reveals the film’s haunting inspiration. “I encountered a gentleman who tried to get me into his car and luckily I escaped… I was one of the first people that they tried to kidnap. And I got away. His face was imprinted on my mind, and I would recognize him anywhere.”
This real-life trauma informs the narrative, where AI and human relationships collide in unpredictable ways, exploring themes of creation, control, and the blurred lines between nurture and programming. Wells, known for her unique ability to blend humor with social critique, crafts a world that is at once absurdly futuristic and eerily relevant.
The animation style mirrors the film’s unconventional approach, with surreal imagery and an aesthetic that feels both retro and cutting-edge. It evokes a sense of nostalgia while simultaneously pushing the boundaries of digital storytelling. The character designs and settings are exaggerated, reinforcing the film’s satirical edge.
Patricia Beckmann Wells directs, writes, and narrates the short film Mombomb, Part 1.
Perhaps the most compelling aspect of Mombomb! is its commentary on motherhood in the age of AI. In a world where technology is rapidly redefining human roles, the film asks: What happens when artificial intelligence starts to take over traditionally human functions, including the most intimate and essential ones, like caregiving? It’s a question that feels especially relevant in an era where AI is creeping into creative and emotional labor.
Wells emphasizes the film’s therapeutic undertones. “The overall message is how to self-heal… Accepting trauma into your life, that it is a natural human condition. We’re going to have it. It’s going to happen to us. And we need to prepare ourselves for it.”
This message resonates particularly strongly in Part 1 of what is presumably a larger narrative, Mombomb! leaves audiences with more questions than answers—but that’s precisely its strength. It challenges viewers to think critically about the technological future we are hurtling toward while entertaining them with its offbeat humor and striking visuals.
Wells has crafted a film that is as funny as it is unsettling, a reminder that the best sci-fi doesn’t just predict the future—it interrogates it. With The AI Fairytale Mombomb, Part 1, she delivers a film that is as imaginative as it is urgent. One can only hope that Part 2 will continue to push the boundaries of this wildly inventive story.
Left to right: bassist Tom Petersson, guitarist Rick Nielsen and singer Robin Zander, drummer Daxx Nielsen
By Teri Kinne and Valerie Milano
Coachella Valley, CA (The Hollywood Times) 2/8/25 – Cheap Trick, the rock band whose hits spanned from the late 1970s through the 1990s, delivered an electrifying performance last night at the Spotlight 29 Casino Showroom, Coachella. The February 7th show demonstrated that the band’s signature blend of new wave rock ‘n’ roll and punk energy remains as potent as ever.
(Photo: THT)
The intimate venue, which accommodated approximately 400 attendees, provided an ideal setting for the 8:00 PM performance. Despite the Spotlight Showroom’s 2,200-seat capacity, the strategic stage setup created an atmosphere that allowed for close interaction between the band and their multi-generational audience. The crowd was comprised of an eclectic mix: resort-dwelling couples, casino regulars, and notably younger fans experiencing Cheap Trick live for the first time alongside devoted followers who grew up with the band’s music.
The current lineup features original members Robin Zander (lead vocals), Rick Nielsen (lead guitar), and Tom Petersson (bass), joined by Daxx Nielsen (drums), who has replaced original drummer Bun E. Carlos. Each brought their distinct personality to the stage. Zander, dressed in SoCal formal wear—a silk shirt, full white suit, and wide-brimmed hat—presented a grounded, deliberate presence. The ever-playful Nielsen maintained his rebellious spirit, launching guitar picks into the crowd while showcasing an array of custom guitars, including a striking yellow one adorned with The Beatles’ portrait and one shaped like an alto saxophone.
(Photo: THT)
Petersson, initially reserved, came alive during his, featured number “I Know What I Want (And I Know How to Get It)”, with his performance growing increasingly animated as the song progressed. The younger Nielsen proved a dynamic force behind the drums, maintaining the band’s signature energy throughout the set.
The show went well. We were impressed with the venue’s quality acoustics and live visual projections. This enhanced the experience and demonstrated the casino’s commitment to professional entertainment presentation.
The merchandise booth saw significant action, with longtime fans purchasing shirts before the show. And post-show, the merchandise line stretched even longer, as newly energized audience members sought souvenirs of the night’s performance.
(Photo: THC)
The Spotlight 29 Casino, operated by the Twenty-Nine Palms Band of Mission Indians, provided seamless event management, from complimentary valet service to efficient ticketing and security. Ticket prices ranged from $50 to $150.
Set List: Dream Police Hello There Just Got Back Hot Love In the Street (Big Star cover) Voices Ain’t That a Shame (Fats Domino cover) High Roller Need Your Love Magical Mystery Tour (The Beatles cover) I Know What I Want
The Flame I Want You To Want Me Auf Wiedersehen Encore: California Man (The Move cover) Surrender Goodnight
One of many of the guitar picks thrown out (Photo: THT)
The concert proved that Cheap Trick, formed in Rockford, Illinois, in 1973 continues to deliver the high-energy performances that earned them their place in rock history. Their masterful blend of classic hits and cover songs left the Coachella Valley audience with an unforgettable evening of rock ‘n’ roll.
For those who missed this memorable night, a glimpse of the concert’s energy can be seen in the following video:
L to R: Jennifer Batten (photo Dorothy), Lindsey Stirling (photo Heather Koepp), Paula Cole (photo Ebru Yildiz), Amanda Palmer (photo vhoycreative), Katie Daryl (photo Steward Volland), AIJIA (photo Eli Chavez), Christine Schyvinck, Shantaia.
By Valerie Milano
Palm Springs, CA (The Hollywood Times) 2/8/25 – Laura Whitmore, the multi-talented broadcaster, actress, and author, is shining a spotlight on women in music with her latest project, She Rocks. Known for her engaging presence on television and radio, Whitmore is now using her platform to celebrate the stories, struggles, and triumphs of female artists in an industry that has historically been male dominated.
Click below for our exclusive interview
She Rocks is an exploration of the women who have shaped the music world, whether in front of the microphone or behind the scenes. Through insightful conversations and compelling storytelling, the project highlights the contributions of female musicians, producers, and industry leaders who have paved the way for future generations.
Whitmore’s passion for music and gender equality has been evident throughout her career. She has consistently championed women’s voices and pushed for greater representation across media and entertainment. With She Rocks, she continues this mission by not only showcasing legendary figures but also shedding light on emerging talents who are making waves in the industry today.
The project is both a celebration and a call to action. It acknowledges the progress that has been made while addressing the barriers that still exist for women in music. From the gender gap in festival lineups to disparities in pay and recognition, She Rocks opens up vital conversations about the changes still needed to achieve true equality.
As Whitmore embarks on this journey, she is joined by an array of inspiring women who share their experiences, insights, and advice for the next generation. Their stories serve as a reminder that while challenges remain, the power of music—and the women who create it—can inspire real change.
Samantha Fish She Rocks Awards 2025 (photo Scott Mitchell)
With She Rocks, Laura Whitmore cements her role as not just a presenter, but as a passionate advocate for women in music. Her dedication to amplifying female voices ensures that the stories of these trailblazers will continue to resonate for years to come.
Tonantzin Carmelo and Julie Bowen in Fake It Until You Make It (Photo by Makela Yepez)
At the Mark Taper Forum, the Native American playwright’s new comedy is a World Premiere to cherish and remember. Her cutting edge humor skewers cancel culture and political correctness with precision and humor.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 02-08-2025
It is not easy to pull off a farce; when it does not work, the failures are often spectacular. However, Native American playwright Larissa FastHorse and Cuban Director Michael John Garcés have come together to deliver a farcical triumph at the Mark Taper Forum. Indeed, the world premiere of Fake It Until You Make It is impressive, almost beyond words. Funny and cutting, edgy and sweet, the play captures a profound slice of the modern-day experience of liberal identity politics, culture, and relationships.
An Edgerton Foundation Commission awarded to Center Theatre Group for the world premiere, the play is produced in association with Arena Stage. What a gift to host the world premiere of such an incredible production. Meet Wynona (Tonantzin Carmelo), the Native American proprietor of N.O.B.U.S.H., and River (Julie Bowen), her white counterpart at Indigenous Nations Soaring, as their intense rivalry takes over the lives of everyone around them.
Commenting on the comedy in the program, in a playful back-and-forth between the playwright and the director, Larissa FastHorse comments, “But I also think that farce is probably the best and most authentic way to address politics, culture, academia, and the arts at the present moment. It’s absolutely bonkers out there.”
Bonkers is the perfect word to describe the most outstanding aspect of the play. By combining themes that would make most writers tread warily on the thin ice of cancel culture with a madcap energy that feels like an old Preston Sturgess comedy with a touch of Charlie Chaplin, the creators create something perfectly palatable. Comedy is the great equalizer, allowing touchy themes to be explored in a digestible way for practically any audience.
Dakota Ray Herbert, Brandon Delsid, and Tonantzin Carmelo in Fake It Until You Make It (Photo by Makela Yepez)
With wonderful characters in a renovated building turned into a home for Indigenous nonprofit organizations, Fake It Until You Make It expands front-page issues, delving into identity politics beyond gender and sexuality. In the context of the play, race is suddenly up for grabs as fundraising depends on a specified identity that suddenly feels fluid and questionable. In the bold new comedy, friends and foes within the non-profit sector collide left and right like pinballs on the two floors of the play’s setting. In a whirlwind of competition that blows with envy and desire, jealousy and ambition, surprising revelations become the name of the game.
If you want to see a play that is challenging and funny, smart and goofy, insightful and madcap, then Fake It Until You Make It is the choice to make. With a talented cast and beautiful scenic design by Sara Ryung Clement, this farce is a real gem that is not a rhinestone, even if it sometimes wants to be to get one more hearty laugh. There is no doubt that Larissa FastHorse and Michael John Garcés are two creative forces to watch moving forward in the theatre and beyond.
Photos by Makela Yepez Courtesy of the Center Theatre Group
Los Angeles, CA (The Hollywood Times) 2/8/25 – In a world of chaos, music remains one of the few constants that soothe the soul. Classical music once calmed the masses, but as time marched on, new sounds emerged. I grew up on rock and roll and soul, watched punk explode over the last 50 years, and witnessed the birth of electronic music in the ’70s. Now, with an endless arsenal of digital tools at our fingertips, I ask: what is the future of music?
The digital music landscape is an ever-shifting playground, bursting with possibilities. Here’s a glimpse at where we might be headed:
1. AI-Powered Music: The Rise of the Machines?
🎵 AI-generated music – Algorithms are composing, performing, and producing music, offering infinite sonic possibilities. Could the next Mozart be a machine?
🎛 AI tools for musicians – Need a killer chord progression or a perfectly mixed track? AI-powered plugins are making music creation faster and more intuitive.
🔊 AI and music discovery – Personalized playlists are just the beginning. AI could soon craft soundtracks that sync with your emotions in real time.
2. Immersive Audio: A Sonic Revolution
🔊 3D audio & spatial sound – Imagine music that doesn’t just play but surrounds you, making every listen a live experience.
🎧 Virtual & augmented reality – Step into a concert from your living room or interact with a music video in ways never before possible.
3. Music Like You’ve Never Heard Before
🎶 Interactive music – Songs that evolve based on your mood, environment, or even your heartbeat? The future of sound is personal.
🕹 Gamification of music – Challenges, rewards, and interactive soundscapes turn music into an experience rather than just a listen.
4. Tech-Driven Creativity: Breaking Boundaries
📱 Mobile & remote production – The next great album might be created on a smartphone, anywhere in the world.
🌍 Real-time collaboration – Musicians across the globe can jam together without ever meeting in person.
5. Community, Connection & the Power of Fans
📲 Social media & streaming – Artists are more connected to their audiences than ever, making music an interactive journey.
💡 Direct-to-fan platforms – More musicians are bypassing labels, selling directly to fans, and creating intimate musical experiences.
6. Reinventing the Business of Music
💰 Blockchain & NFTs – From digital collectibles to unique, fan-owned experiences, artists are exploring new ways to monetize their work.
🎟 Subscription models & microtransactions – A more flexible, fan-friendly way to access music could redefine how we listen.
Of course, predicting the future of music is like trying to catch lightning in a bottle. The next revolution might come from an unexpected spark. But one thing is certain—the rhythm of innovation is unstoppable.
Music is the heartbeat of our lives, and as technology reshapes the sonic landscape, the beat goes on. 🎶