It was Barbie mania all over again. There was pink for as far as I could see. Pink shirts, pink skirts, pink bandanas, pink crop tops, pink flags, and pink cowboy hats. Chappell Roan wasn’t technically one of the headliners for ACL Fest 2024, but you wouldn’t know it from all the pink in the crowd.
Roan had the unenviable task of playing on a Sunday evening in the dusty Texas fall, when it’s still in the upper 90s and she’s staring straight at the sun from the American Express stage in Zilker Park. But over the course of her hour-long set, she proved why she’s the most exciting pop star of 2024.
After kicking things off with The Rise And Fall Of A Midwest Princess tone-setter “Femininomenon,” Roan strutted the stage with conviction for “Super Graphic Ultra Modern Girl,” got vulnerable with the tender “Casual,” and sang the hell out of a cover of Heart’s “Barracuda,” which she called her “favorite song.” She also implored the crowd to do the “Hot To Go!” dance, but it wasn’t necessary; people were doing the choreography well before her set started, like marathoners warming up with sprints before the race.
About the crowd: by now, you’ve heard about the record-breaking seas of pink and seen the photos (the drone shots are something else). I was roughly 50 yards from the stage, and although it was congested, it never felt dangerously packed. Maybe that’s Tall Guy privilege talking, but it was a supportive group — mostly young, occasionally dressed in a pink Hannah Montana shirt (the guy in front of me at least), and entirely excited to be there.
(Meanwhile, across the festival grounds, rapper mike. was the poor soul who had the same timeslot as Roan. There were reportedly only 200 people there to see his set, but he was a good sport about the conflict. “It’s David vs. Goliath out there,” mike. wrote in an Instagram Story.)
So much of the recent (world’s longest sigh) “discourse” around Roan has been out of concern for her mental health and/or anger over comments she made about the election. But what’s been left out of the conversation is how playful she is as a performer. Roan, dressed not in pink but red and white chaps with a “trans rights” hand fan and backed by a charged-up three-piece band, once again mocked the VIPs who didn’t dance at the last festival she played (no one was scolded for acting “too cool” to have fun this time). She demanded that “if you have something pink, put it in the air, bitch.” She also had amusing visuals on the massive screen behind her, including a rabbit holding a wand for “Red Wine Supernova” and corny karaoke-style graphics during “Good Luck, Babe!” My favorite was the clip art leprechauns for the chorus. Fame is “not fun,” but Roan is making the most of it.
Roan played one unreleased song. “The Subway” is about the interminable wait to get over an ex-, until they’re “just another girl on the subway.” It’s not an experience I currently relate to, but I found myself getting emotional nonetheless. It was the first time during the set where I thought about how Roan got here. It was only a few years ago that she was making silly TikToks with her guinea pigs in her bedroom; now she was playing in front of the biggest crowd I’ve seen in 10 years of attending the festival.
Roan turned ACL into her own pink pony club. If she’s gonna keep dancing, we will, too.
Festival organizers shared this video late last night, taken as Roan performed “Pink Pony Club.” Many, many people watched Roan perform, as the video illustrates.
Worth noting is that looking at the ACL set times for Sunday, there wasn’t much else to do during Roan’s set. While a lot of artists faced significant audience conflicts with acts performing on other stages, Roan had little competition (with all due respect to MIKE. and the tail end of San Holo’s set). It likely also didn’t hurt that Tyler The Creator was performing on Roan’s stage after her, so some portion of her audience was likely waiting for that, too.
Regardless, despite the favorable circumstances, Roan has proven herself to be one of the year’s breakout stars, and it’s not a fluke that she’s drawing crowds like this.
Meanwhile, Roan recently spoke about that Lollapalooza set, saying, “Kesha was so lovely to me after my Lollapalooza set, because with that huge of a crowd, maybe only five other people there understood what that’s like. Kesha came to talk to me after, and it felt like a big sister was helping me through it. Me and Reneé [Rapp] were crying because we felt like we were seen in a way we never had been before.”
Taylor Sheridan indisputably stands as one of the most prolific and successful TV creators and producers of our current century. Sure, he hasn’t caught up with Ryan Murphy in terms of sheer volume, but he’s working on it, and at the moment, Tulsa King is churning through a second season with a spin off in the works. Next up, Landman will bring us an oil-soaked Texas story starring Billy Bob Thornton and Demi Moore, and then Yellowstone will air those final episodes, which might not be a series finale after all.
Oh, and Special Ops: Lioness will return this month with Zoe Saldaña as a military and CIA operative named Joe, who molds recruits to infiltrate terrorist cells. No cowboys or mobsters here, in other words, and Saldaña seems to be relishing ass-kicking again even if her character isn’t exactly having a grand time. Let’s discuss what to expect from the next season.
Plot
The first season acquainted viewers with Joe (Zoe Saldaña) as she juggled her role in the CIA’s war on terror with her role as wife and mother. Joe trained Cruz (Laysla De Oliveira), a Marine recruit, as they executed directives within the Lioness Program, which is fictionally named but loosely inspired by a real-life, all-woman military unit. They did so while supervised by Kaitlyn Meade (Nicole Kidman) and Donald Westfield (Michael Kelly), but by the end of the first season finale, Cruz made it clear that she wanted nothing more to do with Joe or the Lioness program.
It’s hard to blame Cruz for feeling that way after the horrors that she endured despite Joe insisting that they were on the right side of history, but does that mean that we won’t be seeing Cruz in the second season, and the show will now follow other Lioness recruits?
Well according to Deadline, Laysla De Oliveira will reportedly return in some way, but the second season will introduce a new Lioness operative who is central to the story. That would be Captain Josephina “Josie” Carrillo, portrayed by Genesis Rodriguez.
Paramount+
From the show’s second season description.
In Season 2, as the CIA’s fight against terror moves closer to home, Joe (Saldaña), Kaitlyn (Kidman), and Byron (Kelly) enlist a new Lioness operative to infiltrate a previously unknown threat. With pressure mounting from all sides, Joe is forced to confront the profound personal sacrifices she has made as the leader of the Lioness program.
Cast
Paramount+
Obviously, the Sheridan top-tier powers are here with Zoe Saldaña, Morgan Freeman, Nicole Kidman, and Michael Kelly.
Genesis Rodriguez is new to the cast, which also includes Thad Luckinbill, Dave Annable, Jill Wagner, Jonah Wharton, Monica Garrett, James Jordan, Austin Hébert, and Hannah Love Lanier.
Release Date
Special Ops: Lioness returns to Paramount+ on October 27.
Trailer
Saldaña is ready to “goooooooo!” And you had better be, too.
Over the past few years, there’s been a lot of discussion over the future of Coachella festival, as the massive music fest tries to find its way in an increasingly fractured music landscape. While this year’s headliners — Doja Cat, Lana Del Rey, and Tyler The Creator — put on an impressive show, there were still reports that the fest sold way fewer tickets than normal. And now, in another blow, it turns out the fest was reportedly unable to secure a pair of A-list headliners to ensure a sellout in 2025: Kendrick Lamar and Rihanna. So why did they turn down Coachella?
According to Bloomberg, from which the report originates, both artists are way too busy to put in the sort of work it takes to put together a Coachella-headlining-worthy set.
Paul Tollett, president and CEO of Goldenvoice, Coachella’s organizer, is apparently searching high and low for headliners that can restore the festival to its former glory, but Bloomberg writes that Coachella may be “a victim of its own success.” The fest needs to book the biggest names to set itself apart and meet the expectations fans have set for it after 20 years, but those names don’t need Coachella anymore — they can make more from their tours or movies or multimedia empires (in one example, Bloomberg notes Coachella pays between $8 and $12 million for headliners, but Beyoncé and Taylor Swift can make $15 million).
That leaves Goldenvoice in a tough spot, for sure, but the good news is: Your favorite artists are thriving — and there’s plenty of room for new artists to move on up.
Slow Horses might have perfected the streaming equation. Sure, the Apple TV+ series only delivers six episodes per season but tends to arrive on an annual basis, which does seem preferable to waiting three years or more for some second seasons to arrive. Plus, the leading man, Jackson Lamb (Gary Oldman), is a freely farting spymaster, and the show manages to be both funny and thrilling while almost effortlessly doling out one-liners about The Terminator. In short, there can never be enough Slow Horses for current audiences, and hopefully, that sentiment continues long after our current question.
When Will The Slow Horses Season 4 Finale Stream?
The season finale will stream on Wednesday, October 9, on Apple TV+. This will conclude the show’s coverage of Mick Herron’s fourth Slough Horses book, Spook Street, and we already know that a fifth season is in the cards, although details haven’t slipped out on which book will inspire the next Jackson grumpfest. Gary Oldman also wants to keep portraying Jackson until the cows come home, or whatever the British equivalent of that saying turns out to be.
Before that happens, the show will deliver what will likely be another explosive finale (although perhaps not literally this time) before revealing the fate of River (Jack Lowden). Slow Horses also co-stars Kristin Scott Thomas, Saskia Reeves, Hugo Weaving, Ruth Bradley, Paul Higgins, Jonathan Pryce, Rosalind Eleazar, and Steven Waddington.
First, the bad news: Despite performing at Coachella festival multiple times in the past, Kendrick turned down the festival’s organizers when they pitched him on headlining in 2025. That’s understandable, as planning a Super Bowl show probably takes at least as much work as a Coachella one, and doing both would stretch anyone too thin. But, the silver lining is that he is also reportedly working on a “tour of major stadiums.” If this turns out to be true, it’d make Kendrick the first rapper ever to headline a solo stadium tour in history.
Past rap-centric stadium tours have paired some of the top names in hip-hop with pop counterparts on co-headlining tours — ex. Beyoncé with Jay-Z or Rihanna with Eminem — but according to Billboard, no rapper has embarked on a major stadium tour on their own, aside from one-off concerts. This means, if Kendrick really does do so in 2025, he’ll have made history yet again, after being the first rapper to win a Pulitzer Prize (he’s also the first to solo headline the Super Bowl Halftime Show).
ASAP Rocky’s last album, Testing, reminds me a lot of The Bear. In the recently concluded third season of the genre-defying FX restaurant dramedy, Carmen, the proprietor of the titular beef sandwich stand-turned-Michelin-star-hopeful hot spot, insists on a constantly changing menu of experimental and effortful dishes. It’s a strategy aimed at generating enough buzz and critical acclaim to turn The Bear into one of those generational, culture-shifting eateries that defines the shape, look, and flavor of fine dining for a decade to come. It shouldn’t count as a spoiler to point out that this strategy does not go well.
In the same way, ASAP Rocky really swung for the fences in 2018, doing his best to both subvert and redirect the flow of hip-hop from crowd-pleasing but repetitive Atlanta trap productions to something more psychedelic and vibey, like Grateful Dead for heads who grew up on The Notorious B.I.G. and Three 6 Mafia. As with Carmy’s restaurant ambitions, it seems that Rocky’s reach exceeded his grasp.
In an interview with GQ, he admitted to being “emotionally discouraged” by its early lukewarm reception among fans, while expressing belief that his hardcore followers would grow into it. While the album wasn’t a complete disaster (neither was The Bear), it didn’t turn out to be the paradigm-shifting smash success Rocky evidently believed that it would be.
Now, with Don’t Be Dumb, his first album in six years sitting on the launchpad and fueling up for release, there’s one item on Rocky’s readiness checklist that absolutely must be a non-negotiable: He needs to go back to basics, or watch his comeback album also get stuck in the inner atmosphere, falling well short of his cosmic goals.
When he first appeared on the national scene with his breakout 2011 single, “Peso,” Rocky enamored himself to rap fans with a smart, unexpected blend of Memphis trap aesthetics, East Texas murk, and Uptown New York swagger. Although the seeds of his future sonic experimentation could be heard in the druggy, slowed-down morass of his UGK and Three 6-inspired sounds, those sounds were familiar enough to rap fans of all stripes that they were immediately accessible in the melting pot atmosphere that bubbled up from the digital underground of the late noughties. It launched him into the stratosphere, putting him on par with fellow breakouts like Big KRIT, Big Sean, Drake, J. Cole, Kendrick Lamar, Mac Miller, Meek Mill, Pusha T, Tyler The Creator, and Wale.
In the years since then, though, he’s taken a number of detours through the worlds of fashion and television — and a Scandanavian jail — while ending up only fractionally as productive musically as his onetime peers. As of this writing, he’s only got three full-length albums to his name, along with his debut mixtape, Live. Love. ASAP, and his contributions to the handful of releases from his former clique, ASAP Mob. While he’s popped up on a few high-profile collaborations with the likes of Japanese designer/part-time DJ, Nigo, Tyler, and producer Metro Boomin, it has seemed that Rocky’s attentions have mostly focused on building a family with longtime girlfriend/possible wife Rihanna.
Which explains the hype for Don’t Be Dumb, Rocky’s first album since the misunderstood and oft-maligned Testing. DMB represents not only his first real collection of music since 2018, but also his opportunity to recognize and return to the traits that made his output so beloved in the first place. He’s always been a stellar rapper, but rap has plenty of those; what made him stand out was his willingness to combine unexpected elements to create alchemical results more than the sum of their respective parts. Think real-life chef Roy Choi’s ingenious invention of the Los Angeles food truck, Kogi BBQ, which combined taco truck staples with the Korean cuisines Choi grew up with in LA’s Koreatown.
It’s understandable why Rocky, someone who was so lauded for his own unusual combinations, would want to prove he could continue to push the boundaries with Testing. As he told New York radio fixture Peter Rosenberg for Complex’s Open Late, “I want to take a different approach, and I want to challenge the viewer who is tired of hearing the same old shit… I’m just trying to test my viewers and listeners and see if they’re ready to evolve and grow with me.”
But what made his first experimental musical dishes work was their simplicity. They took straightforward questions and answered them: What if Big L had rapped on “Sippin on Some Syrup?” What about a Mase guest spot on “Pocket Full Of Stones?” It turns out, these are things that work together. Testing, however, combined way too many elements without considering whether any of this made any of these things work better than they would on their own. While we do like surprise and innovation, folks don’t necessarily want to have their tastes challenged, broadly speaking.
Testing tried a lot — maybe too much — to impress fans who never really wanted that from Rocky. He’d gone from giving them roast beef and peppers on French bread to a full-on French fusion menu. With Don’t Be Dumb, fans might be ready for palate-widening flights of fancy, but truthfully, what many (most, even) want from Rocky is the feeling that made him a superstar in the first place. Late career resurgences aren’t all that uncommon in hip-hop anymore, but all of them have hinged on delivering on fans expectations without the demands — think Nas and Hit-Boy’s stellar run, Rick Ross’s glittering luxury rap, or Lil Wayne’s relentless punchline onslaught.
Rocky, too, can have such a renaissance. Obviously, as an artist, his vision should be the only thing that matters to him — although it does sound like he’s focusing on making good rap records again. Maybe he can top himself. Maybe he can figure out a way to polish the ideas he hinted at on Testing and really make them fly. But if he wants the praise, accolades, and appreciation of being a fan favorite, he’s going to have to tamp down on some of his ambition. Fundamentals are called that for a reason. The basics work; sure, fine dining is nice every once in a while, but nobody ever turns down a really good sandwich.
Grupo Frontera is leading the charge for música Mexicana on a global level.
After taking norteño and cumbia music into the mainstream with last year’s El Comienzo, the Mexican-American group is pushing its sound to new places with the follow-up Jugando A Que No Pasa Nada. Grupo Frontera have also become the go-to hit-makers in Latin music following collaborations with Bad Bunny, Shakira, Maluma, Romeo Santos, and more.
“Grupo Frontera is continuing to reach its full potential and we’re loving every minute of it,” lead singer Adelaido “Payo” Solís III tells Uproxx. “We’re still trying to show you guys everything that we can do and what we love to do.”
Grupo Frontera hails from the Rio Grande Valley of Texas. The group includes Payo, accordion player Juan Javier Cantú, conga player Julian Peña Jr., bajo quinto player Alberto “Beto” Acosta, drummer Carlos Guerrero, and bassist Brian Ortega. Living life near the US/Mexico border, the music of Grupo Frontera reflects a unique crossover of traditional música Mexicana with genres from the states. In 2022, the guys went viral with their norteño version of the Latin pop-rock song “No Se Va” by Morat. From there, the band’s debut album El Comienzo showed música Mexicana in a new light with the genre-bending “Un 100xto” featuring Bad Bunny. Shakira and Peso Pluma later tapped into Grupo Frontera’s refreshing sound.
In May, Grupo Frontera went more experimental with Jugando A Que No Pasa Nada by adding elements of R&B, country, EDM, and other genres in the mix. They’re continuing to help música Mexicana evolve by embracing elements of bachata in “Ángel” with Aventura frontman Santos.
Amidst an arena tour across the US, Grupo Frontera received two Latin Grammy Award nominations for both albums. While backstage at Inglewood, California’s Intuit Dome, the guys talked with Uproxx about the growth of Grupo Frontera, the stories behind the band’s hits, and what’s next.
How do you guys feel to represent Mexican music and culture through Grupo Frontera?
Payo: It feels amazing! We’re all very proud to be Mexican and to carry the flag of Mexico. That’s something that we’re all very proud of because Mexico is a very special place to all of us. It deserves to be heard. I love to be able to literally and figuratively carry that flag and show it proudly.
Being from a border town, what does it mean for you guys to also represent the Mexican-American community?
Julian: That’s the perfect example of who we are because that’s where we were born. We were raised five minutes from the border. Every other night that we wanted to, we would cross the border, go visit our families, talk with them, and have some food. We grew up with both cultures. Most of us actually lived in Mexico, so we know what life is like over there. We know what life is like over here. Luckily, we got to learn both languages pretty well… except for Beto [laughs].
How would you describe going on this journey as a band with Grupo Frontera?
Julian: As a band, it’s been the best experience, because we’ve heard from other artists that they travel alone and it becomes really lonely. With us, it’s never boring. There’s never a dull moment.
Payo: A bunch of artists that we’ve collaborated with and their managers tell us that it gets very lonely for those artists, and that it’s hard to travel alone, do all these things by yourself, and not share it with anybody. Us as a group, we’re six guys, so everything that we do, we share it. We live it together. If one of us gets out of hand, the rest of us bring them back down.
What was the experience like to explore genres like R&B, country, and EDM in Jugando A Que No Pasa Nada?
Juan: It was a whole experience. We were in the studio experimenting with all these different sounds. Payo was experimenting with his voice and trying to get it to fit with different styles of music. All the music was different from the first album. I remember we were spending a weekend in Miami, recording the album, and it was a whole other experience. Everyone was feeling new to something.
Carlos: Honestly, it was amazing. It felt surreal. It was something that we never imagined happening. Payo always says it was like a full-circle moment. Making a cover, blowing up with it, and then working with them, it was awesome. They’re good friends of ours.
Shakira tapped you guys for the song “(Entre Paréntesis).” How would you describe the experience of working with her?
Beto: To work with Shakira was amazing! We met her here in Malibu, California. The whole experience of meeting her, getting together, and working on “(Entre Paréntesis)” with her was a very big moment for us. You can feel that in the song. That’s how it also felt when she was making the music video with us and doing her dance moves. The way she worked was a lesson for us. The lesson is that she is a very big artist because she works harder than anyone else. For her to be collaborating with us while we’re still fairly new is a big deal for us.
Maluma also entered Grupo Frontera’s world of música Mexicana. How did the song “Por Que Será” come together with him?
Juan: He’s the nicest person ever. He’s really cool. We all clicked with him really quickly because he had mezcal with him. He got us all drunk. Well, that was part of it. We just felt great vibes with him. We thought we were just going to go record the song and that’s it, but it was a whole other experience with him.
Now you guys are fusing bachata into your sound with “Ángel.” What was the experience like to work with Romeo Santos on that song?
Julian: We love every type of music and everything that we do. Every single that we release and everything that we do is because we love music. It doesn’t just have to be cumbia to enjoy it. We have all these types of music in our songs. Working with Romeo Santos was another legend that we can check-off the list. It makes us really happy knowing that we’re making people dance, making them cry, and be filled with emotions just by singing along to this song.
El Comienzo is nominated for Best Norteño Album and Jugando A Que No Pasa Nada is nominated for Best Contemporary Mexican Music Album. What does it mean for you guys that both of your albums are nominated at the Latin Grammy Awards in November?
Carlos: I speak for everyone when I say it’s a dream come true, first of all. It’s a milestone that we never thought we’d reach, but we’re there. Honestly, from here on out, it’s just riding the wave and hoping for the best. We’re extremely honored by the Latin Recording Academy to be nominated like that. It’s something that we always dreamed of, so we’re enjoying it as we’re going along. It’s a big feeling.
How do you feel about your norteño and cumbia songs connecting with millions of listeners?
Payo: It feels pretty cool because during this tour, we’ve had a lot of people at our meet-and-greets that are gringos. Honestly, we’ve seen every race and ethnicity and they’re with their Mexican partner. They’re like, “I love your music because my Mexican girlfriend or boyfriend got me into it.” That feels really cool because all these different cultures and ethnicities are listening to our songs. That makes me feel accomplished.
What do you guys want to accomplish next as Grupo Frontera?
Julian: We want to stay in people’s hearts forever. A big example we use is Bobby Pulido with the song “Desvelado.” That song came out almost 30 years ago and it’s still current today. It’s still a song that you put on during a barbecue, a party, or any time. We want to do that. We want to make music that’s going to stay forever, and hopefully we’ll stay forever as well. That’s something we want to accomplish.
What do you see for the future of música Mexicana?
Brian: This is only going up. What the past couple of years have shown us is that we can only go up. Together, we’re doing a lot more than what they used to do back in the day when everyone was trying to pull their own weight. We figured out the formula. We’re all together, we’re pulling our weight together, and we’re going to get farther and farther. We’re going to keep growing.
Finneas’ main claim to fame is, of course, his work alongside sister Billie Eilish. But, he has done well at forging his own solo path, too. He dropped his debut solo album, Optimist, in 2021, and he just unveiled another one, For Cryin’ Out Loud!, a few days ago.
He has a bunch of tour dates lined up, too, and today (October 7), he announced a bunch of new shows for North America. His current tour schedule has him busy from January to May 2025.
Tickets go on sale on October 11 at 10 a.m. local time, via Finneas’ website. There’s also a Citi presale starting October 8 at 10 a.m. local time, until October 10 at 10 p.m. local time. More information on that can be found here.
Check out Finneas’ upcoming tour dates below.
Finneas’ 2025 Tour Dates: For Cryin’ Out Loud!: The Tour
01/07/2025 — Auckland, NZ @ Auckland Town Hall
01/09/2025 — Brisbane, AU @ The Fortitude Music Hall
01/11/2025 — Sydney, AU @ Hordern Pavilion
01/13/2025 — Melbourne, AU @ Forum Melbourne
02/13/2025 — Nashville, TN @ Ryman Auditorium
02/14/2025 — Atlanta, GA @ Coca-Cola Roxy
02/16/2025 — Raleigh, NC @ The Ritz
02/18/2025 — Silver Spring, MD @ Fillmore Silver Spring
02/19/2025 — Philadelphia, PA @ Fillmore Philadelphia
02/21/2025 — Boston, MA @ MGM Music Hall at Fenway
02/22/2025 — Brooklyn, NY @ Brooklyn Paramount
02/25/2025 — Detroit, MI @ The Fillmore Detroit
02/26/2025 — Chicago, IL @ Salt Shed
02/27/2025 — Minneapolis, MN @ Fillmore Minneapolis
03/01/2025 — Denver, CO @ Fillmore Auditorium
03/02/2025 — Salt Lake City, UT @ The Union Event Center
03/04/2025 — San Francisco, CA @ The Masonic
03/05/2025 — Los Angeles, CA @ Hollywood Palladium
04/14/2025 — Dublin, IE @ 3 Olympia Theatre
04/17/2025 — London, UK @ Eventim Apollo
04/18/2025 — Manchester, UK @ O2 Apollo Manchester
04/20/2025 — Glasgow, UK @ O2 Academy Glasgow
04/21/2025 — Birmingham, UK @ O2 Academy Birmingham
04/22/2025 — Bristol, UK @ Bristol Beacon
04/25/2025 — Stockholm, SE @ Fållan
04/27/2025 — Oslo, NO @ ROCKEFELLER
04/29/2025 — Hamburg, DE @ Grosse Freiheit
04/30/2025 — Copenhagen, DK @ Vega
05/02/2025 — Berlin, DE @ Astra Kulturhaus
05/05/2025 — Brussels, BE @ La Madeleine
05/06/2025 — Amsterdam, NL @ Paradiso
05/07/2025 — Paris, FR @ Trianon
05/09/2025 — Cologne, DE @ Live Music Hall
Lady Gaga once sang, “I wanna kiss you.” She channeled that energy into Joker: Folie à Deux, where her character, Harley “Lee” Quinn, shared a kiss with another woman. However, the scene ended up being nixed from the final cut.
“It had dialogue in it, and, all of a sudden, I wanted it to be more of a music and vibe moment,” director and writer Todd Phillips told Entertainment Weekly about the smooch. “For that moment to have played, it needed dialogue behind it. Meaning, the woman said something, and then Gaga stopped and did this thing, and it just kind of got in the way of the moment.”
The kiss, which was caught by the papa-paparazzi, occurred outside the Gotham courthouse where “Lee” was showing her support for Arthur Fleck (Joaquin Phoenix). Phillips also said that Gaga improvised the kiss.
Despite Gaga’s star power, a companion album, and the presence of Industry favorite Harry Lawtey, Joker: Folie à Deux had a lower-than-expected opening weekend at the domestic box office. It debuted to only $40 million compared to $96.2 million for 2019’s Oscar-winning Joker, which ended up making over $1 billion worldwide. Joker: Folie à Deux will have a hard time even getting halfway there.
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