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Twenty-five films have been selected for the Library of Congress’ National Film Registry in 2024 “due to their cultural, historic or aesthetic importance to preserve the nation’s film heritage.” They include two that had Billboard 200-topping soundtracks, Beverly Hills Cop and Dirty Dancing; one (Dirty Dancing) that featured an Oscar-winning song, “(I’ve Had) the Time of My Life”; and one (The Social Network) that featured an Oscar-winning score by Trent Reznor and Atticus Ross.
The selections span 115 years, from a silent film created to entice audiences at the dawn of cinema in 1895, Annabelle Serpentine Dance, to the newest selected film from 2010, The Social Network, a drama about social media.
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Popular Hollywood releases selected this year include the first Star Trek film added to the registry – 1982’s Star Trek II: The Wrath of Khan, as well as Eddie Murphy’s first feature film on the registry, Beverly Hills Cop.
Two films selected this year, American Me and Up in Smoke, were produced by Lou Adler, a music industry legend who produced Billboard 200-topping albums by the Mamas and the Papas and Carole King. Adler, 91, was voted into the Rock and Roll Hall of Fame in 2013 and received a trustees award from the Recording Academy in 2019. Adler has several other films on the registry including Monterey Pop, The Rocky Horror Picture Show and 20 Feet From Stardom, in which he made an appearance.
The 2024 selections feature diversity both in the filmmakers and in the stories depicted on screen.
Five films selected this year include prominent Hispanic artists or themes – American Me, Mi Familia, Star Trek II: The Wrath of Khan, Spy Kids and Up in Smoke.
Mi Familia and American Me both feature actor Edward James Olmos, who is now featured in eight films on the registry. American Me marks his first appearance as a director on the registry.
With this year’s addition of Mi Familia, director Gregory Nava now has three explorations of the Hispanic experience on the registry. Mi Familia joins previous selections El Norte and Selena.
Two films this year, Up in Smoke and Spy Kids, feature Cheech Marin. These are Marin’s first films on the registry. Up in Smoke is also the first Cheech & Chong film on the registry.
Several films this year were made by Black directors, including Ganja and Hess (1973, Bill Gunn); Uptown Saturday Night (1974, Sidney Poitier), Will (1981, Jessie Maple) and Compensation (1999, Zeinabu irene Davis). Will is considered to be the first independent, feature-length film directed by a Black woman.
Common Threads: Stories from the Quilt, an Academy Award-winning documentary selected this year, tells the story of the National AIDS Memorial Quilt, and an important period in LGBTQ history.
Deaf characters and culture are represented in two films this year: The Miracle Worker from 1962 and Compensation from 1999. In The Miracle Worker, director Arthur Penn depicted the Helen Keller story in a direct and unsentimental manner that was unusual for its time.
The selection Powwow Highway from 1989 stands out as one of the first indie films to treat Native Americans as ordinary people, navigating the complexities of everyday life, departing from long-perpetuated stereotypes.
“Films reflect our nation’s history and culture and must be preserved in our national library for generations to come,” Librarian of Congress Carla Hayden said in a statement. “We’re honored by the responsibility to add 25 diverse new films to the National Film Registry each year as we work to preserve our cultural heritage.”
Turner Classic Movies (TCM) will host a TV special on Wednesday, Dec. 18 at 8 p.m. ET to screen a selection of films named to the registry this year. Hayden will join TCM host and film historian Jacqueline Stewart, who is chair of the National Film Preservation Board, to discuss the films.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 motion pictures to the National Film Registry that are “culturally, historically or aesthetically” significant. The films must be at least 10 years old. The Librarian makes the annual selections after conferring with the members of the National Film Preservation Board and a cadre of Library specialists.
This year’s selections bring the number of titles in the registry to 900. Also considered were 6,744 titles nominated by the public. Nominations for next year will be accepted through Aug. 15, 2025, at loc.gov/programs/national-film-preservation-board/film-registry/nominate/.
Here’s a complete list of the 25 films that were selected as 2024 additions to the National Film Registry. They are listed in chronological order.
Annabelle Serpentine Dance (1895)KoKo’s Earth Control (1928)Angels with Dirty Faces (1938)The Pride of the Yankees (1942)Invaders from Mars (1953)The Miracle Worker (1962)The Chelsea Girls (1966)Ganja and Hess (1973)The Texas Chainsaw Massacre (1974)Uptown Saturday Night (1974)Zora Lathan Student Films (1975-76)Up in Smoke (1978)Will (1981)Star Trek II: Wrath of Khan (1982)Beverly Hills Cop (1984)Dirty Dancing (1987)Common Threads: Stories from the Quilt (1989)Powwow Highway (1989)My Own Private Idaho (1991)American Me (1992)Mi Familia (1995)Compensation (1999)Spy Kids (2001)No Country for Old Men (2007)The Social Network (2010)
The Kelly Clarkson Show has been renewed by NBC Owned Television Stations group for a seventh season.
“Kelly Clarkson is a national treasure,” Tracie Wilson, executive vice president, syndication studios and E! News at NBCUniversal, said in a statement. “…There’s an appetite in talk for stories that entertain and inspire, and The Kelly Clarkson Show is a shining star that delivers for our stations and connects with viewers across multiple generations in meaningful ways.”
Valari Staab, chairman, NBCUniversal Local, added: “Kelly and her team continue to raise the bar in daytime television. The show’s consistent viewership, engaging content and high production quality has made it a valuable part of our programming lineup across the NBC-owned stations.”
Since its launch in 2019, The Kelly Clarkson Show has collected 22 Daytime Emmys. Clarkson has won personally won eight of those awards (compared to three Grammys over a much longer period of time). Impressively, she has won at least one Emmy in each of the five seasons.
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The Kelly Clarkson Show won outstanding daytime talk series for the fourth consecutive year at the 2024 Daytime Emmys, which were held in Los Angeles on June 7. In accepting the award, Clarkson gave special thanks to NBC for listening to her concerns when she proposed moving the show from Los Angeles to New York.
“Thanks to NBC for believing in our show. …The fact that NBC, a huge company, took time and listened when I said ‘Hey, my life is not going super great. I don’t know if I can live here [in L.A.] anymore. I don’t know if I can do this.’ And they really wrapped their arms around us and they helped us move. And the move has been so great for not just me and my family but our whole show. It takes a lot of time and money and effort to do that. It is not unnoticed. I just want to say thank you for thinking of mental health as well as, you know, a product.”
For the 2024-25 season, The Kelly Clarkson Show averages 1.2 million viewers per day, and consistently ranks as one of the top syndicated talk shows. The show airs in syndication on more than 200 stations across the country.
The Kelly Clarkson Show films in studio 6A at 30 Rockefeller in New York City. Alex Duda is executive producer and showrunner. Clarkson is also executive producer.
Performances by Brittney Spencer, Chris Janson, Clay Aiken, Jonathan McReynolds and Tyler Hubbard highlight the United Way Benefit for Hurricane Relief, a one-hour special which is set to air on Saturday (Nov. 2) at 8:00 p.m. ET/PT on CBS and CMT.
Proceeds from the special, which was taped Oct. 27-28 in Nashville, will raise funds for relief and recovery following Hurricanes Helene and Milton, which caused an estimated $50 billion in damage.
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The special will also include “messages and appearances” by Backstreet Boys, Billy Bob Thornton, Billy Burke, Blake Shelton, Carly Pearce, Cedric The Entertainer, Cody Alan, Jackson Dean, JB SMOOVE, Kelsea Ballerini, Max Thieriot, Nate Burleson, Stephen Colbert, Taye Diggs and Zac Brown Band.
The United Way Benefit for Hurricane Relief special is produced by Black & Bespoke (executive producer Myiea Coy), 5X Media (executive producers Gil Goldschein and Maria Pepin), Digital Cinema Collective (executive producer Aaron Cooke) and Berman Productions (executive producer Al Berman) for CBS and CMT. The special was created by Byron V. Garrett, chief revenue officer at United Way Worldwide, and Melissa C. Potter, executive director of Content for Change at Paramount Global.
In the last four years, United Way around the world has responded to more than 200 disasters, including droughts, water crises, hurricanes, fires and floods, and mobilized resources by facilitating more than $219 million in outside investments to support local needs.
Paramount+ with Showtime subscribers will be able to stream the show live via the live feed of their local CBS affiliate on the service.
Ludwig Göransson, who won an Oscar in March for best original score for Oppenheimer, and Billie Eilish & Finneas, who won an Oscar for best original song for “What Was I Made For?” from Barbie, could add to their considerable award collections at the 24th World Soundtrack Awards (WSA), which will be held on Wednesday Oct. 16 in Ghent, Belgium.
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The awards are organized by Film Fest Gent, Belgium’s biggest international film festival.
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Two other 2024 Oscar nominees for best original score, Jerskin Fendrix (Poor Things) and Laura Karpman (American Fiction), are nominated for film composer of the year. Fendrix’s entry here also includes Kinds of Kindness, director Yorgos Lanthimos’ follow-up to Poor Things. Karpman’s entry here also includes her score for the 2023 film The Marvels and her Emmy-nominated score for Rock Hudson: All That Heaven Allowed.
Veteran composer Elliot Goldenthal is set to receive the WSA lifetime achievement award for his contribution to film and television music. Goldenthal won an Oscar for best original score in 2003 for Frida and was nominated for a Primetime Emmy the following year – outstanding music composition for a miniseries, movie or a special (dramatic underscore) for Dance in America: Lar Lubovitch’s Othello (Great Performances).
A second wave of nominations will be announced on Sept. 13. In the following weeks, the WSAcademy will cast their vote for this year’s winners.
Here’s a complete list of nominees in the top music categories.
Film composer of the year
Jerskin Fendrix |Kinds of Kindness; Poor Things
Ludwig Göransson |Oppenheimer
Laura Karpman |American Fiction; The Marvels; Rock Hudson: All That Heaven Allowed
Anthony Willis |Saltburn
Hans Zimmer |Dune: Part Two; The Creator
Television composer of the year
Nick Chuba, Atticus Ross, Leopold Ross | Shōgun
Natalie Holt | Loki
James Newton Howard | All the Light We Cannot See
Martin Phipps | The Crown
Carlos Rafael Rivera | Griselda; Lessons in Chemistry; Monsieur Spade
Jeff Russo | Fargo; Ripley
Best original song
“Dance the Night” from Barbie | written by Mark Ronson, Andrew Wyatt, Caroline Ailin, Dua Lipa | performed by: Dua Lipa
“I’m Just Ken” from Barbie | written by Andrew Wyatt, Mark Ronson | performed by: Ryan Gosling
“It Never Went Away” from American Symphony | written by Dan Wilson, Jon Batiste | performed by: Jon Batiste
“Road to Freedom” from Rustin | written and performed by Lenny Kravitz
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon | written by Scott George | performed by Osage Tribal Singers
“What Was I Made For?” from Barbie | written by Finneas O’Connell, Billie Eilish | performed by Billie Eilish
“You’ve Never Had Chocolate Like This” from Wonka | written by Neil Hannon, Paul King, Simon Farnaby | performed by Timothée Chalamet, The Cast of Wonka
When The Voice came calling, it was the perfect time for Dan + Shay to join as the talent show’s first ever “double chair” coaches.
Dan Smyers and Shay Mooney had celebrated their 10th anniversary as a multi-platinum, Grammy-winning country duo, but had also hit a rough patch. “The last couple of years had been a bit of a roller coaster,” Smyers says. “We were going through our own personal battles, rebuilding our relationship –and you throw in COVID, and it was just kind of a wild time for us.”
But as the pair worked through their issues and came back from the brink of breaking up, they were filled with a new gratitude. “We’ve changed our perspective from ‘We have to do this’ to ‘We get to do this,’ and that it’s amazing that there’s somebody who is willing to pay their hard-earned money to come see our show or buy an album or a T-shirt,” Smyers continues. “The Voice came to us at such a perfect time where that gratitude is at an all-time high.”
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The country duo, who served as mentors in season 20, will make their coaching debut on the show on Monday, Feb. 26, as the 25th season of NBC’s singing competition starts. They are joined by returning coaches Reba McEntire, John Legend and Chance the Rapper.
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This marks the first time that two of the chairs will be occupied by country acts, leading the way for some heavy competition for country contestants between Dan + Shay and McEntire.
Former coach Blake Shelton never overlapped with McEntire and “didn’t have to compete with the queen of country music. He had it really easy,” jokes Mooney. “I feel like we have really been having to strategize and use our blocks to our advantage. Who doesn’t love Reba McEntire and didn’t listen to her music and watch her show growing up? That’s stiff competition. She’s very competitive.”
Just as The Voice exposed Shelton to a much bigger, mainstream audience, Dan + Shay are well aware that the show could broaden their appeal. “This is a massive opportunity for us,” Mooney says. “We’ve had some crossover success, but this opens you up to an entirely different audience. Being on television every week definitely expands the people who listen to your music. We don’t really know what to expect.”
As the first set of double coaches, Dan + Shay have to share one button as they pick their 14-member team in the blind competition, which has already been filmed. “When we were flying out [to L.A.] for the first time, we looked over at each other’s like, ‘Should we come up with some kind of strategy, like two taps on the knee is a yes?’ We didn’t realize when they started taping that there’s cameras on you from every angle at all times, you’re miked up. You can’t really talk to each other that much. If one of us is really feeling it, we’ve given each other permission to go ahead and smash that button and turn that chair around. But the two chairs, one button [thing] is an interesting dynamic.”
Seeing contestants so eager to launch their careers has been a powerful reminder of how lucky the two are to have seen their musical dreams come true. “Seeing these people who are pouring their hearts and souls out onto that microphone, honestly, I can’t imagine being in their shoes,” Smyers says. “A lot of these people are coming from small towns and are singing into the back of somebody’s chairs. It’s a pretty high-pressure, nerve-wracking situation. It really is a cool perspective shift to see somebody who wants it so badly. I feel like you kind of lose perspective where we and a lot of our friends have a seat at the table. These people are working to earn their position at the table.”
Like the other judges, Dan + Shay have to juggle the daily demands of their careers with coaching, and also have to commute from Nashville to Los Angeles weekly. They continue to promote their fifth Warner Music Nashville album, Bigger Houses, which came out in September and debuted at No. 9 on Top Country Albums chart. First single “Save Me the Trouble” reached No. 2 on the Country Airplay chart. Their Heartbreak on the Map arena tour, which takes its name from a song on the album, kicks off Feb. 29 in Greenville, S.C.
Spending more time in Los Angeles has one big advantage. “I get more sleep out here, which is pretty cool,” says Mooney, who has three small boys. More seriously, he adds, “It’s definitely a challenge being away from our families. It’s very difficult. But they’re excited for us.” Legend, who is Los Angeles-based, brings his kids to the studio, and Mooney is hoping his children can join him on some trips.
Even though they aren’t even through their first season, Smyers says they’d like to come back for more seasons. “It’s just a really exciting, heart-pounding experience for us as coaches when the lights go down, not knowing what’s about to go into your ears,” he says. “Hopefully they invite us back, because I’m having a little too much fun to give it up now.”
Mooney even has a suggestion for future seasons: “We’re conspiring with Reba — now that it’s three [country] coaches vs. two [non-country] coaches — to move the show to Nashville,” he says with a laugh.
Billie Eilish and Finneas and composer Ludwig Göransson moved one step closer to winning Oscars by winning at the fifth annual SCL Awards, which were held at the Skirball Cultural Center in Los Angeles on Tuesday night (Feb. 13). Eilish & Finneas won outstanding original song for a comedy or musical for “What Was I Made For?,” which they co-wrote for Barbie. Göransson won outstanding original score for a studio film for Oppenheimer. These are widely regarded as the front-runners to win the Oscars for best original song and best original score, respectively, on March 10.
Siedah Garrett hosted the SCL Awards, which are presented by The Society of Composers and Lyricists.
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Director Martin Scorsese accepted the Spirit of Collaboration Award for his work with the late composer Robbie Robertson. Jason Isbell performed “Between Trains,” which Robertson wrote for Scorsese’s 1983 film The King of Comedy, to honor the pair.
The Spirit of Collaboration Award recognizes a composer/director relationship which has created a prodigious body of work. Robertson and Scorsese’s collaborations over nearly 50 years included The Last Waltz, Raging Bull, Shutter Island, The Wolf of Wall Street, The Irishman and last year’s Killers of the Flower Moon, for which Robertson is nominated for an Oscar posthumously. The composer died in August at age 80.
Past recipients of the Spirit of Collaboration Award are Thomas Newman & Sam Mendes, Terence Blanchard & Spike Lee, Carter Burwell & the Coen Brothers, and Justin Hurwitz & Damien Chazelle.
Olivia Rodrigo and Dan Nigro won outstanding original song for a drama or documentary for “Can’t Catch Me Now” from The Hunger Games: The Ballad of Songbirds and Snakes. That song was shortlisted for an Oscar for best original song, but it didn’t land a nomination.
Garrett is a Grammy-winning, two-time Oscar-nominated songwriter and a member of the SCL. She recently reunited with Quincy Jones on the 2023 musical version of The Color Purple. She had collaborated with Jones on Michael Jackson’s 1987 album Bad — co-writing “Man in the Mirror” and singing background vocals on “I Just Can’t Stop Loving You.” Both songs were No. 1 hits on the Billboard Hot 100.
The Society of Composers and Lyricists, which claims nearly 4,000 members, is a leading organization for professional film, television, video game and musical theater composers and songwriters.
Here are the nominees for the 2024 SCL Awards, with winners marked:
Outstanding original score for a studio film
Anthony Willis, Saltburn
Joe Hisaishi, The Boy and the Heron
WINNER: Ludwig Göransson, Oppenheimer
Laura Karpman, American Fiction
Robbie Robertson, Killers of the Flower Moon
Outstanding original score for an independent film
Jon Batiste, American Symphony
WINNER: John Powell, Still: A Michael J. Fox Movie
Daniel Pemberton, Ferrari
Mica Levi, The Zone of Interest
Fabrizio Mancinelli/Richard M. Sherman, Mushka
Outstanding original song for a comedy or musical
WINNER: Billie Eilish O’Connell/Finneas O’Connell, “What Was I Made For?,” Barbie
Mark Ronson/Andrew Wyatt, “I’m Just Ken,” Barbie
Diane Warren, “The Fire Inside,” Flamin’ Hot
Heather McIntosh/Allyson Newman/Taura Stinson, “All About Me,” The L Word: Generation Q
Jack Black/John Spiker/Eric Osmond/Michael Jelenic/Aaron Horvath, “Peaches,” Super Mario Bros. Movie
Outstanding original song for a drama or documentary
WINNER: Olivia Rodrigo/Dan Nigro, “Can’t Catch Me Now,” The Hunger Games: Ballad of Songbirds & Snakes
Jon Batiste/Dan Wilson, “It Never Went Away,” American Symphony
Lenny Kravitz, “Road to Freedom,” Rustin
Nicholas Britell/Taura Stinson, “Slip Away,” Carmen
Sharon Farber/Noah Benshea, “Better Times,” Jacob the Baker
Outstanding original score for a television production
WINNER: Nicholas Britell, Succession
Natalie Holt, Loki
Martin Phipps, The Crown
Carlos Rafael Rivera, Lessons in Chemistry
Gustavo Santaolalla, The Last of Us
Outstanding original title sequence for a television production
WINNER: Carlos Rafael Rivera, Lessons in Chemistry
Atli Örvarsson, Silo
Nainita Desai, The Deepest Breath
Kevin Kiner, Ahsoka
Chanda Dancy, Lawmen: Bass Reeves
Outstanding original score for interactive media
Austin Wintory, Stray Gods
Pinar Toprak, Avatar: Frontiers of Pandora
WINNER: Stephen Barton/Gordy Haab, Star Wars Jedi: Survivor
Winifred Phillips, Secrets of Skeifa Island
David Raksin award for emerging talent
Kenny Wood, The Naughty Nine
Hannah Parrott, After Death
Fabrizio Mancinelli, The Land of Dreams
WINNER: Catherine Joy, Home Is a Hotel
Allyson Newman, Commitment to Life
Harry Styles could have been in Mean Girls. Samantha Jayne and Arturo Perez Jr., directors of the movie musical remake of the 2004 comedy, revealed that they had them in mind for one particular role.
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Jayne and Perez spoke about the making of the new Mean Girls for an interview published by The Hollywood Reporter Saturday (Jan. 13), a day after the film’s opening. The topic of conversation turned to memorable lines and comedic moments from the original movie.
“There are certain iconic lines where we would joke that there would be riots in the streets if it wasn’t in there. Like ‘You go, Glen Coco!’ Give the people what they want. Give me what I want! But when we were like, ‘Who’s Glen Coco?’” Jayne said.
“Who can it be?” Perez chimed in, then shared: “I remember us going, could we ask, like, Harry Styles?”
“We were like Harry Styles could be Glen Coco!” Jayne confirmed.
But, Jayne continued, “Then we were like, hold on, we love to break the fourth wall: What if we are all Glen Coco? So, after 20 years, we can all feel like Glen Coco.” (In a THR editor’s note, the publication explained that the line is actually delivered straight to the camera/audience.)
The 2024 incarnation of Mean Girls is based on the Broadway musical adaptation of the 2004 Tina Fey-penned film, which starred Lindsay Lohan and Rachel McAdams. The remake features Reneé Rapp as Regina George and Angourie Rice as Cady Heron, while Fey reprises her role as Ms. Norbury and Tim Meadows is back as Mr. Duvall. Plus, Lohan returns for a cameo.
Mean Girls opened in theaters Friday (Jan. 12).
According to a box office report from THR, the Paramount film is on track to win “the box office popularity contest” with an estimated four-day opening of $31.5 million over the long holiday weekend.
Ledisi, Billie Jean King, Amber Riley, Chris Janson, Fancy Hagood and Lucie Silvas have been added to CMT Smashing Glass, a salute to genre-defying women artists that premieres Wednesday, Nov. 15, at 9 p.m. ET/PT. Clint Black, Mickey Guyton, Sheryl Crow and The War & Treaty were already announced for the special, which will celebrate […]
Lana Del Rey is not involved with the new film Priscilla, but director Sofia Coppola was open to the idea.
The Hollywood Reporter says the director first became aware of fans associating Elvis and Priscilla Presley with Del Rey — who has embodied Priscilla’s ’60s-style big hair and thick eyeliner throughout her career as an artist — while filming Priscilla.
“I’m learning that people really connect Lana Del Rey and Priscilla and I didn’t realize that, but I got a lot of requests with, ‘How is she gonna be a part of the movie?’” Coppola said in a recent interview with E! News.
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“We were hoping she could do a song for it, but it didn’t work out with the timing,” she explained.
Besides embodying Priscilla’s style, Del Rey, known as a longtime fan of the Presleys, has referenced Elvis in her lyrics. She had a demo titled “Elvis” featured in Eugene Jarecki’s Elvis documentary, The King, in 2017.
Coppola invited Del Rey to the Priscilla premiere, but the singer-songwriter couldn’t attend. She says she is “excited for her to see it.”
The film is based on Priscilla’s memoir, Elvis and Me, and follows the romance between Elvis and Priscilla, told from her perspective. It doesn’t feature Elvis’ actual music because Authentic Brands Group, the majority owner of Elvis Presley Enterprises, didn’t accept Coppola’s offer for the rights.
“They don’t like projects that they haven’t originated, and they’re protective of their brand,” Coppola told THR earlier this year. “But that made us be more creative.”
Although the late Lisa Marie Presley, who was the only child of Elvis and Priscilla, seemingly did not approve of the way her dad was depicted in Coppola’s script, Priscilla was moved by the project.
At the movie’s Venice Film Festival showing, Priscilla embraced Coppola and wiped away tears during a standing ovation. “We haven’t talked specifically about the music, but she said, ‘You did your homework,’ ” Coppola told Billboard. “She felt it was authentic, which was so important to me.”
Priscilla, starring Cailee Spaeny and Jacob Elordi, is now playing in theaters.
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