Hollywood’s biggest night is finally here — and the stars did not hold back when it came time to bring the fashion to the red carpet at the 2024 Academy Awards on Sunday night. From statement gowns to the classic and dapper, this year’s group of nominees closed out the 2024 awards season with a (rather stunning) bang. Follow us all night for the best Oscar-worthy looks.
When George Lucas debuted his science fiction epic about a galaxy far far away in 1977, Star Wars went from a long-shot space opera into the highest grossing science fiction franchise of all time. Almost 50 years and one sale to entertainment conglomerate Disney later, Star Wars isn’t just a one-off world. There have been prequels, reboots, stand-alone television series, and an in-depth theme park addition. But like most popular culture, the Star Wars fandom, especially online, has become inundated with loud, conservative, and in some cases, incredibly racist voices. While Disney has never said these voices are directly impacting what shows get made, the vocal minority of Star Wars devotees keep limiting what they’ll accept as true Star Wars. These fans say they’re fighting for Star Wars’ future. But if their endless fantasy world can’t accept any stories that they don’t recognize — some of the self-professed biggest fans in all the worlds could be closing themselves off to any future at all. What is crystal (kyber?) clear is that before Star Wars can have another successful show, the loudest voices online need to realize the Star Wars they want to return to never existed in the first place. Will the real Star Wars please stand up?
Much of the online discourse around Star Wars has centered on the franchise’s most recent live action projects. First premiering in 2019, these include The Mandalorian, The Book of Boba Fett,Ahsoka, Obi-Wan Kenobi, Andor, and The Acolyte. The market has been oversaturated with stories, especially many that occur within the same time frames, with fans frankly, getting tired and in some cases — outright bored. Each of the projects has had its own reception — and own problems. However the low audience scores, angry YouTube rants, and long Reddit threads can really boil down to one question: who determines what’s real Star Wars? First as a film, and then a trilogy, Star Wars established early on to viewers that even when they were focused on a set of powerful twins and a dark Empire, shit was going down on literally every other planet. This freedom has allowed for endless story arcs across decades. But while opportunities have been endless — the patience of fans hasn’t.
Take for example the most recent series, The Acolyte. Created by Leslye Headland (Bachelorette, Russian Doll), the series follows Mae and Osha Aniseya, a pair of mysterious twins (both played by Amandla Stenberg) who baffle a group of Jedi. When Mae fails to follow through on her education with Sith master Qimir (Manny Jacinto), Osha takes her place. The series is one of the first of its kind: a Star Wars addition that explores both the backstory of Sith and the potential for a corruption where the Jedi — the moral pillars — aren’t in the right. But well before the show premiered, vocal online fans mocked Stenberg’s casting, calling the series evidence that Disney was capitulating to a “woke” crowd by having multiple people of color in the cast. They also criticized news that the show would include queer characters, including a coven of witches. This week, Deadline reported that Disney canceled the series after just one season. Fans upset with what they called a social justice warrior direction for Star Wars celebrated, calling the show disrespectful to the original films, and simply not the Star Wars they loved. X owner Elon Musk even celebrated the news of the show’s cancellation, appearing to tweet a redacted version of the phrase, ‘Go woke, go broke.”
Disney has not released a statement on why The Acolyte was canceled, and representatives for Disney and Lucasfilms did not respond to Rolling Stone’s request for comment. Reception for the series was mixed, though, with people praising performances from Jacinto, Stenberg, and Lee Jung-jae, but criticizing the story’s overloaded plot and short episode count. However, it’s all too easy to imagine how a show with an already expensive budget (over $100 million, according to Deadline) might be easier to scrap entirely rather than contend with the potential of another lackluster — and ill received — season.
But another aspect that can’t be divorced from modern fandom is the almost consistent racism and sexism that leads of color receive when they are cast in Star Wars-related projects. Stenberg said that after her casting, she was bombarded with racist harassment. “It’s been very painful to me. It’s not something that I think you can emotionally prepare for,” Stenberg said on The View. “We welcome criticism of the show when it comes to storytelling or performance. But when it comes to death threats — horrific, violent racist language — it’s unacceptable to me.”
Kenobi star Moses Ingram has also said people threatened her life when she joined the Star Wars project. “There’s nothing anybody can do about this. There’s nothing anybody can do to stop this hate,” Ingram said on Instagram. “I question my purpose in even being here in front of you saying that this is happening.” The same thing happened to Kelly Marie Tran when she was cast in The Last Jedi. “If someone doesn’t understand me or my experience,” she said, “it shouldn’t be my place to have to internalize their misogyny or racism or all of the above.” And John Boyega received so much harassment and racism when he was cast as the lead in Star Wars: The Force Awakens that he claimed Disney executives sidelined him in further films to appease the outspoken white fans. Disney did not respond to this claim at the time, but has since been more outspoken through the official Star Wars social media pages when new cast members receive death threats.
This backlash of racism, sexism, and online abuse seems consistent across allStar Wars projects — most heavily targeted at leads of color. But when online pundits criticize Star Wars for taking a “woke” direction, they ignore the power that exists in the source material to begin with. Lucas himself has pointed out his intentional choices in making powerful and high ranking women integral to the success of each film. “Who do you think the heroes are in these stories? What do you think Princess Leia was? She’s the head of the rebellion. She’s the one that’s taking this young kid who doesn’t know anything and this boisterous, I-know-everything guy who can’t do anything and trying to save the rebellion with these clowns,” Lucas said in May at the Cannes Film Festival. “And it’s the same thing with Queen Amidala.” He’s also pushed back on the idea that his world was created just for white men. “Most of the people are aliens! The idea is you’re supposed to accept people for what they are, whether they’re big and furry or whether they’re green or whatever,” he added. “The idea is all people are equal.”
But what it seems like extreme fans don’t realize is that they’re creating a space where even the truest of Star Warsfans still wouldn’t want to participate. Let’s be real. If you thought you could make the next great Star Wars iteration, but you knew that your project could be lambasted simply for casting a person of color, is that where you would invest your time? Or if you were an actor of color choosing between two roles you believed in, would you pick the one that came with an almost guaranteed hate campaign? The Star Warsfans clamoring for a return to the originals aren’t just talking nonsense, they’re ruining their chances to see the franchise they love grow in any meaningful way. Star Wars is about a galaxy filled with endless choices, battles, and people trying to make a difference. The fans who are loudest at the moment aren’t just willfully ignoring Lucas’ original vision. They’re making their own worlds smaller in the process.
Queens of the Stone Age have canceled the remainder of their 2024 tour dates — including a string of North American shows and festival gigs scheduled for the fall — as Josh Homme continues his recovery from an unspecified surgery he underwent in July.
“QOTSA regret to announce the cancellation and/or postponement of all remaining 2024 shows. Josh has been given no choice but to prioritize his health and to receive essential medical care through the remainder of the year,” the band wrote on social media.
The group was scheduled to perform eight North American shows this autumn, starting with a two-night stand at Boston’s MGM Music Hall on September 27 and 28. All five of the band’s standalone shows — including concerts in Boston, Cincinnati, Chicago and Madison, Wisconsin — will all be pushed to to-be-announced dates in 2025, while QOTSA had to cancel their festival appearances at Bridgeport’s Soundside, Memphis’ Mempho, and Mexico City’s Corona Capital.
In July, Queens of the Stone Age abruptly canceled their European tour after Homme had to return stateside “immediately for emergency surgery,” the band said in a statement. “Due to continued medical care, it is under doctors’ orders that Josh Homme remain in their care in the United States.”
At that time, QOTSA’s North American shows remained on the schedule before they were ultimately nixed on Friday. “Josh and the QOTSA family are so thankful for your support and the time we were able to spend together over the last year. Hope to see you all again in 2025,” the band added Friday.
The group were touring in support of their latest album, In Times New Roman …, which came out in 2023, the same year that Homme revealed that he’d previously undergone surgery to remove cancer.
After Sabrina Carpenter’s summer takeover with “Espresso” and “Please Please Please,” the anticipation for Short n’ Sweet was at an all-time high. On her sixth album, the pop singer keeps the surprises coming as she delivers a masterclass in clever songwriting and hops between R&B and folk-pop with ease. Carpenter writes about the frustration of modern-day romance, all the while cementing herself as a pop classic. Here’s everything we gathered from the new project.
Carpenter gave us a glimpse of her humor on singles “Espresso” and “Please Please Please” — she’s working late because she’s a singer; ceiling fans are a pretty great invention! But no one could have guessed how downright hilarious she is on Short n’ Sweet, delivering sugary quips like “The Lord forgot my gay awakenin’” (“Slim Pickins”) and “How’s the weather in your mother’s basement?” (“Needless to Say”). She’s also adorably nerdy, fretting about grammar (“This boy doesn’t even know/The difference between ‘there,’ ‘their’ and ‘they are!’”) and getting Shakespearian (“Where art thou? Why not uponeth me?”). On “Juno,” she even takes a subject as serious as pregnancy and twists it into a charming pop culture reference for the ages: “If you love me right, then who knows?/I might let you make me Juno.” It’s official: Do not underestimate Ms. Carpenter’s pen. — A.M.
On her sixth album, Carpenter somehow finds herself in the middle of yet another love triangle. She’s no stranger to this, having penned “Skin” and “Obsessed” in response to the teen saga that Olivia Rodrigo sang about on Sour. But on Short ‘n Sweet, the songs are more explicit, the stars are bigger, and the stakes are even higher. The flighty dude who “found God at [his] ex’s house” on “Sharpest Tool” is presumably Shawn Mendes, and the ex to who Carpenter directs the tongue-in-cheek “Taste” at appears to be Camila Cabello. She may be writing about A-List singers, but Carpenter remains fearless.“I write songs about exactly how I feel, so I guess I can’t be so surprised that people are interested in who and what those songs are about,” she told Rolling Stone in May. “That’s something that comes with the territory.” — M.G.
Carpenter has always been a Tay-daughter (a musical daughter of Taylor Swift), but she seems to be taking notes from other country pop stars and legends like Kacey Musgraves and Dolly Parton. The silly “Slim Pickins” veers into country territory the most; her vocal trills channel both Musgraves and Parton with incredible precision. “The little vocal runs she does are so bizarre and unique — they’re doing this really odd, classic, almost yodel-y country thing,” producer Jack Antonoff told Rolling Stone earlier this year. Sonically, Short ‘n Sweet finds Carpenter leaning into plucky acoustic guitars throughout the record. In two years time, she just might pivot into full twang.— M.G.
It wasn’t too long ago that boygenius put out a song about Leonard Cohen, who was casually “at a Buddhist monastery writing horny poetry.” Carpenter takes a note from the boys on “Dumb & Poetic,” a two-minute acoustic ballad where she bids farewell to a man of wellness, the awful kind who steals quotes from self-help books. She delivers some great burns here — “Save all your breath for your floor meditation,” “I promise the mushrooms aren’t changing your life” — but nothing is more biting than a reference to the late songwriter who had a way with the ladies. “Try to come off like you’re soft and well-spoken/Jack off to lyrics by Leonard Cohen,” she sings — and that’s just the first verse. Cohen died eight years ago, and one can only imagine his reaction to being pop’s hottest muse. — A.M.
For more basic pop artists, “Eighties retro” often means throwing some New Wave synths on your song and calling it a day. But when it comes to retro-pop recombinations, Sabrina Carpenter has a unique light touch and a scholar’s attention to detail. Short ‘n Sweet kicks off with the excellent single “Taste,” a mega-catchy kiss-off to an ex’s new partner with a melody that lovingly and movingly calls back to Kim Carnes’ classic “Bette Davis Eyes,” which spent nine weeks at the top of the charts in 1981 and won a Grammy for Song of the Year and Record of the Year. Carpenter totally makes that vintage reference her own, just as she did on her previous summer smashes “Please Please Please” and “Espresso.” — J.D.
Robert F. Kennedy Jr. has suspended his 2024 presidential campaign, and according to a court filing in Pennsylvania on Friday will throw his weight behind former President Donald Trump.
Multiple news outlets reported on Wednesday that independent presidential candidate Robert Kennedy Jr. was planning to drop out of the race and endorse Trump. He clarified at an event in Arizona on Friday that he is not terminating his campaign, only suspending it, and that his name will remain on the ballot in non-battleground states. He said that if enough people still vote for him and Trump and Kamala Harris tie in the Electoral College, he could still wind up in the White House.
“In an honest system, I believe I would have won the election,” Kennedy claimed, citing a vast Democratic conspiracy with the media to stifle his ability to communicate his vision for America to the public. While RFK Jr. blames the “system” from keeping him out of the White House, it could also be due to atrulybizarre, scandal-laden campaign in which he push a host of conspiracy theories, brushed off allegations of sexual assault, and admitted to dumping a dead bear in Central Park.
Kennedy’s siblings bashed his decision to endorse Trump in a statement on Friday. “We believe in Harris and Walz,” they wrote. “Our brother Bobby’s decision to endorse Trump today is a betrayal of the values that our father and our family hold dear. It is a sad ending to a sad story.”
Trump will speak in Arizona later on Friday, and has teased a special guest.
Trump said Tuesday that he would “certainly” consider Kennedy for a role in his administration. “He’s a brilliant guy. He’s a very smart guy. I’ve known him for a very long time,” Trump told CNN.
Trump’s son, Donald Trump Jr., told conservative radio host Glenn Beck that it would be a good idea to have Kennedy on board. “I loved the idea, love the idea of giving him some sort of role in some sort of major three-letter entity or whatever it may be and let him blow it up,” he said.
Kennedy had a colorful run, from admitting to leaving a dead bear cub in Central Park to saying doctors found a dead, parasitic worm in his brain. On a more serious note, he was accused of sexual assault, to which he responded: “I’m not a church boy… I had a very, very rambunctious youth.”
The Washington Post previously reported that Kennedy had spoken to Trump about taking a job in his administration working on health and medical issues. Kennedy is known for being a vaccine conspiracy theoirst.
“All I will say to you is I am willing to talk to anybody from either political party who wants to talk about children’s health and how to end the chronic disease epidemic,” Kennedy told the Post.
Kennedy apparently begged both of his opponents for a job. According to the Post, he tried to schedule a meeting with Vice President Kamala Harris to talk about working for her as well.
Kennedy’s running mate, Nicole Shanahan, denied this. She said they were “definitely not in talks with Harris.” She also said they “have never brought up a cabinet position with Harris.” Then, she said: “we have offered to talk to everybody.”
The Kennedy campaign had been weighing their options; Shanahan said recently that the campaign was considering whether they should drop out or “join forces” with former President Donald Trump.
She said on the Impact Theory podcast that they could “walk away right now and join forces with Donald Trump and you know, we walk away from that and explain to our base why we’re making this decision,” adding: “Not an easy decision.”
In July, the campaign spent more than it raised, and nearly half of the money that it raised came from Shanahan. Kennedy’s campaign disclosed refunding $925,000 to Shanahan.
One little funny/bizarre/horrifying thing about the internet is the way it offers up everything and, in doing so, makes it possible to strip anything of its history. But to paraphrase Kamala Harris, you didn’t just fall out of the coconut tree. “You exist in the context of all in which you live and what came before you” — wise words worth heeding, especially for all the Trump voters and conservatives making TikToks with the Chicks’ “Not Ready to Make Nice.”
Over the past month or so, “Not Ready to Make Nice” has become an unexpected MAGA anthem of sorts, meant to express a certain rage at liberals supposedly telling conservatives what to do all the time (the past few Supreme Court terms notwithstanding, apparently). Young women especially have taken the song as a way to push back against the possibility of Harris becoming the first female president.
“Using this song because this is exactly how the liberal party is treating conservatives,” one poster wrote. Another caption read, “Female rage is seeing women say they’re voting for Kamala because ‘she’s a woman and for my daughter’s future.’ But what about the women who’s [sic] lives and future were taken by illegal immigrants because of Kamala’s failure to be the Border Czar?” (This is a frequent talking point in many of the “Not Ready to Make Nice” TikToks.)
It is true that “Not Ready to Make Nice” is one of popular music’s great distillations of female rage. Though, as many, many, many have pointed out, the Chicks famously wrote “Not Ready to Make Nice” after speaking out against George W. Bush and the Iraq War. It was a valiant gesture for which they were systematically blackballed (dare we say canceled) by the country music world while receiving an onslaught of vitriol from the far-right.
The Chicks —who just performed at the Democratic National Convention this week — may have responded to the trend, sharing a clip of the “Not Ready to Make Nice” video on TikTok with the not-so-subtle caption, “Bless her heart.” A rep for the band did not immediately return Rolling Stone’s request for comment.
Now, the thing about art is that no matter an artist’s intentions, once their work is out in the world, it’s no longer fully theirs. People can do what they want with it. One MAGA-loving country artist on TikTok, Austin Forman, has spent the past couple of days doing just that, slurping liberal tears as he explains why, actually, it’s totally fine for conservatives to relate to the song’s lyrics despite the reason they were written. (He even did his own acoustic cover of the tune, ostensibly as an effort to offer conservative posters a version they can use without putting money in the Chicks’ pocket, though that’s not exactly how publishing royalties work.)
And, you know what? Sure. Conservatives can use the song however they want — but that doesn’t stop it from being funny as hell. The dissonance is as glaringly goofy as Paul Ryan loving Rage Against the Machine, Ronald Reagan trying to co-opt “Born in the U.S.A,” or even the decisively non-political trend of TikTokers using a freaking Charlie Manson demo to capture a cozy autumn vibe. If the righteous words and voice of Natalie Maines speak to conservatives, it’s a testament to her artistry — and maybe cause for them to consider why their own grievances haven’t produced much art anywhere near as good.
