R&B singer Peabo Bryson, well known for his duets from beloved Disney classics “Aladdin” and “Beauty and the Beast,” suffered a stroke over the weekend.
A representative for the artist told The Times that the singer is undergoing treatment but provided no details about his condition.
“Two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson — the voice behind the Oscar-winning Disney songs ‘Beauty and the Beast’ and ‘A Whole New World’ — has suffered a stroke and is currently under medical care,” the representative said in an emailed statement. “At this time, the family requests privacy as they navigate this deeply personal moment together. The thoughts, prayers and love of friends and fans are welcomed and deeply appreciated.”
Bryson recently performed a concert with Jeffrey Osborne at Trilith Live in Fayetteville, Ga., in early May. The event was a standalone performance, apart from the crooner’s Golden Touch tour, which he announced last year, amid his celebration of 50 years in the music industry. In April, the Grammy winner turned 75 and posted photos on Instagram from a birthday bash showing him surrounded by friends and family. In early May, he posted a video of his son, Kitt, performing a Michael Jackson dance routine, writing “Super proud Dad moment from last nights Gig in Atlanta.”
Soul and funk band Maze, which was fronted by the late Frankie Beverly, shared some love for Bryson on social media.
“The entire Maze The Music Forever family sends our heartfelt prayers, love, and support to Peabo Bryson during this time of healing,” read the post. “Peabo’s extraordinary voice, timeless artistry, and unwavering contributions to music have touched millions around the world. We pray for God’s healing hand, renewed strength, comfort, and a full recovery.”
ELLA Bright left fans absolutely stunned when she revealed her ‘real’ voice on The Kelly Clarkson Show.
The Off Campus actress, 19, has seen huge success in her role as college junior Hannah Wells on the new YA series, where she speaks in an American accent.
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Ella Bright left Kelly Clarkson and fans shocked after revealing her ‘real voice’Credit: TiktokKelly was blown away by Ella being British, saying she does ‘such a good’ American accent on the showCredit: Tiktok
However, both Kelly and viewers were left absolutely stunned by what her day-to-day speaking voice actually sounds like.
Bringing it up with Ella, a surprised Kelly said: “Your accent is f*****g throwing me. It’s throwing me, it’s crazy.
“It’s weird. I was doing research on you last night because you were coming on and I was like, ‘Oh my God, she’s British.’
“Because I only saw the clips from Off Campus so I was like, ‘Wait, what?’
Ella plays the role of Hannah Wells in Off CampusCredit: GettyThe young actress is only 19 years oldCredit: Liane Hentscher/PrimeBelmont Cameli plays her fake boyfriend, Garrett, on the showCredit: AP
“You do such a great American accent!”
Fans watching the clip felt the same way and commented about it on TikTok.
One user said: “I didn’t know she was British. Wow.”
A second shared: “I’m loving that raspy voice.”
A third added: “Insane insane insane.”
Season 1 of Off Campus debuted earlier this month, corresponding to the firstbookin Elle Kennedy’s viral series, The Deal, released in 2015.
It follows aspiringfilmcomposer Hannah as she pretends to date cocky Briar Uhockeycaptain Garrett Graham to win the attention of her real crush,Justin Kohl (Josh Heuston).
Ella’s on-screen partner, Garrett Graham (Belmont Cameli), is 28 years old and also plays the role of a college student.
Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.
Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.
The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.
According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.
Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”
Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”
(Disney)
Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.
Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”
Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.
“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”
In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.
But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.
Eden Espinosa as Zandrya
Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”
(Disney)
Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.
“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”
As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.
“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”
Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.
(Disney)
As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”
“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.
And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”
Yvette Nicole Brown as Lady Saddlespur
Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.
(Disney)
Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.
“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”
“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”
Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”
Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”
Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”
Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”
“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”
Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”
The race is dominated by just-under-the-wire releases, with three of the seven projected nominees dropping this month (the end of the eligibility window is May 31).
Matt Roush says, “Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual.”
Trey Mangum says of the runaway No. 1 pick, “Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in.”
While several panelists continue to plead ignorance as to what, exactly, makes a movie debuting on television a TV movie or not a TV movie, some find titles to champion.
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo,” says a somewhat responsible-sounding Tracy Brown, definitely not typing her comment at a Taco Bell. “All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick.”
“Expect to see ‘Deep Cover,’ ‘Miss You, Love You,’ ‘Remarkably Bright Creatures,’ ‘Straw’ and ‘Swiped’ in the running. And what qualifies as a TV movie in 2026, when TV and film mediums are beyond fluid? No idea. I’m just here to blurb.”
“Vince Vaughn’s lightweight culinary comedy, ‘Nonnas,’ managed to earn a nomination for Netflix in 2025. Does that mean voters will be twice as likely to put Hulu’s ‘Mike & Nick & Nick & Alice’ — in which the actor plays two versions of the titular Nick — on their ballot?”
Los Angeles Times
Tracy Brown
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Deep Cover” 4. “Jack Ryan Ghost War” 5. “Pizza Movie”
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo. All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick. ‘Remarkably Bright Creatures’ is the likely front–runner but I wouldn’t count ‘Deep Cover’ out.”
Blavity
Trey Mangum
1. “Heads of State” 2. “Deep Cover” 3. “Remarkably Bright Creatures” 4. “Swiped” 5. “People We Meet on Vacation”
“Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in. Then there’s last year’s ‘Deep Cover,’ which is buoyed by the likes of Orlando Bloom and Bryce Dallas Howard.”
TV Insider
Matt Roush
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Jack Ryan Ghost War” 4. “Deep Cover” 5. “The Best You Can”
“Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual. A ‘Jack Ryan’ movie gets in by name recognition.”
Los Angeles Times
Glenn Whipp
1. “Remarkably Bright Creatures” 2. “Swiped” 3. “Deep Cover” 4. “Miss You, Love You” 5. “People We Meet on Vacation”
“Six years after ‘My Octopus Teacher,’ we find there’s still much to learn from eight-limbed marine mollusks in ‘Remarkably Bright Creatures.’ Shameless, yes, but also sweet.”
SAN DIEGO — The good people of New York like to consider themselves tough. If you can make it there, as Frank Sinatra crooned, you’ll make it anywhere.
Do not confuse hot takes with sounding tough. Two New York sports talk hosts this week took daft shots at Joe Davis and came off — in the last adjective with which any true New Yorker would want to be described — as soft.
Let’s rewind: Davis is the lead voice of the Dodgers on SportsNet LA. He is also the lead voice of the national baseball broadcasts on Fox. In the latter role, he called last Saturday’s game between the New York Yankees and the New York Mets.
At one point, Mets outfielder Carson Benge dropped an easy fly ball. Without missing a beat, Davis said: “Oh, no! Oh, no, the Mets!”
It was the perfect call. The foibles of the Mets are so many and so weird that Mets fans themselves have embraced a term for them: LOLMets. You can learn all about it in a 23-minute YouTube video narrated by a former Mets pitcher.
Commentator Stephen Nelson, Dodger Shohei Ohtani, interpreter Will Ireton, Dodger Roki Sasaki and broadcaster Joe Davis address fans during Dodger Fest at Dodger Stadium on Jan. 31.
(Jae C. Hong / Associated Press)
Firing one manager (Willie Randolph) at midnight in Anaheim? Dumping another manager (Carlos Beltran) before he could manage a game because he was the only player cited in the commissioner’s report on the Houston Astros’ cheating scandal? Opening this season with baseball’s highest payroll and spending some time with baseball’s worst record?
“This year, and in recent years, there have been so many moments where it looks like the Mets are right there, ready to make a run or win the division or win a championship, and then something just tends to go wrong,” Davis said in San Diego Tuesday.
“They were in a stretch right there where every single day, they were getting a stud hurt. They put together a winning streak against the Tigers, then Clay Holmes has the comebacker break his ankle.”
The next day, Benge totally clanked it, and Davis totally nailed it — in the moment, not with some scripted phrase waiting in his pocket.
“You hope that your reactions in those moments — in any moment in this job — are authentic,” Davis said. “You don’t have much time for it to be anything else.”
On Monday, Evan Roberts — a host on WFAN, New York’s top-rated sports station — unloaded on Davis for “mocking” the Mets.
“Joe Davis has become a clown for the Los Angeles Dodgers and we all hear it,” Roberts said, in remarks posted by the Awful Announcing website.
Got anything else?
“I think he’s a Dodger fanboy,” Roberts said. “I think he wants to just make love to Shohei Ohtani every time he talks about him … He’s a great broadcaster, and I’ll admit it. But, for now, I think Joe Davis is a Dodgers shill and it’s obnoxious.
“And I’d give him this advice, not that he cares, he doesn’t care: Don’t go to the Dodger parade and be the emcee. It’s a bad look. It just is. You’re sitting there as the national voice and now you’re pom-pom waving at the Dodger parade. Come on, man.”
Davis works for the Dodgers. When the boss wants you to emcee the World Series championship rally, you do. Would the Mets’ broadcasters do the same? When the Mets win their first World Series championship since 1986, we’ll find out.
Let’s hear from Sal Licata, formerly at WFAN and now working independently: “What’s up with Joe Davis, by the way? You Dodger homer. ‘Oh no, the Mets,’ that’s a national unbiased broadcast? You biased Dodger blue fool.”
There always will be people who claim Davis is biased toward the Dodgers, just as people claimed his predecessor, Joe Buck, was biased toward the St. Louis Cardinals. Buck worked for Fox on weekends and called Cardinals games during the week.
And, for the people who see only what they want to see, Davis is the voice of baseball’s evil empire. Maybe that aggravates New Yorkers, but consider how aggravated we are that we have to fight through hellish traffic to get to Dodger Stadium or a television set by 5 p.m. so we can see our team play in the World Series because the East Coast needs to see the game in prime time.
Or how annoyed we are that we get televised Yankees-Red Sox games shoved down our throats when Red Sox management has opted for irrelevance and the best rivalry in baseball is here, between the Dodgers and Padres.
Better yet, how about we all chill? It’s just a game. We could break bread with New York’s famous bagels, except the New York Times told us we have the better bagels.
Tom Kane, a prolific voice actor whose signature roles included Master Yoda in a number of animated “Star Wars” shows as well as Professor Utonium on “The Powerpuff Girls,” has died. He was 64.
Kane died Monday from complications of a stroke he suffered in 2020, his representative Zachery McGinnis confirmed to The Times. The voice actor’s death was announced on social media by his talent agency, Galactic Productions.
“From his unforgettable performances in Star Wars to countless animated series, documentaries, and games, Tom brought wisdom, strength, humor, and heart to every role he touched,” reads a statement posted Monday on Galactic Productions’ Facebook page. “His voice became part of our lives, our memories, and the stories we carry with us. … Though his voice may now be silent, the characters, stories, and love he gave to the world will live on forever.”
Kane first joined the “Star Wars” franchise through video games in the 1990s, voicing droids, Imperial officers and rebel pilots in installments such as “Star Wars: Shadows of the Empire” and “Star Wars: X-Wing vs. TIE Fighter.” He would go on to voice other characters, including the iconic protocol droid C-3PO, Jedi Master Yoda and the bounty hunter Boba Fett, in various games over the years.
He continued to voice Yoda in animated “Star Wars” shows, first in “Star Wars: Clone Wars,” Genndy Tartakovsky’s series set after the events of the 2002 film “Episode II — Attack of the Clones,” in which Kane also voiced C-3PO.
But Kane’s most notable “Star Wars” role was as the narrator of the 2008 film “Star Wars: The Clone Wars” and the subsequent series of the same name, where he kicked off each adventure as the spoken version of the classic “Star Wars” opening crawl to set the stage for the story that followed.
“Tom loved ‘Star Wars,’” Dave Filoni, Lucasfilm’s president and chief creative officer, said in the studio’s tribute to Kane. “Fans may best remember him as the voice of the animated Yoda, but truly his voice was the spirit of the Clone Wars. His opening narration introduced an entire generation to the ‘Star Wars’ galaxy getting viewers ready for another adventure far, far, away.”
“When I was first starting out as a director I was fortunate to have someone as legendary as Tom there to help me learn and guide me towards what the actors needed. Very Yoda like indeed,” Filoni added.
Besides his “Star Wars” roles, Kane’s credits also include the devoted valet Woodhouse in “Archer,” the mutant Magneto in Marvel video games, the prim and proper head of house Mr. Herriman in “Foster’s Home for Imaginary Friends” and the flamboyant villain Him in “The Powerpuff Girls.”
Kane said in a 2014 Reddit AMA that “The Powerpuff Girls’” Professor Utonium, who combined sugar, spice and everything nice — along with chemical X — to create the super-powered kindergartners, was the character he most identified with.
“He’s a dorky dad who loves his kids,” Kane wrote in a comment. “That’s pretty much me.”
Tara Strong, who voiced Powerpuff Girl Blossom, described Kane as “Brilliant. Giving. Funny. Supportive. [And] Kind.” in her tribute.
“They say there’s no such thing as a perfect man… those people never met [Tom Kane]. I’ve never in my life met a sweeter soul or a better human being,” Strong wrote in a Monday post on X. “I’m beyond grateful for all the hours we spent together in the booth, and so grateful we got to see him again recently… hug him tight and tell him how much we love and miss him.”
“I love you, Professor. You were the best dad, the best human, and I feel so honored to have known you and called you my friend,” she added.
Born April 15, 1962, in Overland Park, Kan., Kane began his voice acting career at age 15 doing commercials in his hometown of Kansas City, according to IMDb. In addition to his work in games, film and television, Kane has lent his voice to announce awards shows, including the 78th, 80th, 83rd, 84th and 90th Academy Awards broadcasts, as well as on attractions at Disney Theme parks.
“I’m also glad that his characters and voice will live on in many ways,” Filoni said in his tribute. “Wherever you go there’s always a chance that Tom is the voice you hear guiding you through Disneyland or a galaxy far, far away.”
Kane is survived by his wife, Cindy, and their nine children, six of whom joined the family through adoption and fostering.
LAS VEGAS — “You know, I was thinking,” Gwen Stefani said, looking out at the crowd before her on Wednesday night at Sphere. The singer was maybe an hour and a half into the first show of No Doubt’s monthlong residency at the dome-shaped venue just off the Las Vegas Strip, and now the moment had come for the hit that changed everything for this once-scrappy ska-punk band from Orange County.
“I was thinking about this next song, and I was thinking about Anaheim,” she continued. “Do you know where Anaheim is?”
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The song, of course, was “Just a Girl,” which Stefani said she wrote “out of pure innocence in a time where I was just becoming aware of myself and my surroundings.” She added that she’d always assumed she’d outgrow the song — that someday it would feel disconnected from the life of a woman who went on to become a pop star with a clothing line and a gig on TV. Here she was, though, about to do “Just a Girl” for 20,000 or so fans eager to sing along.
“You tell me if you think it’s still relevant,” she said.
In a built-to-please town where old hits are welcome on any stage — not least Sphere’s, which these days also hosts the Eagles and the Backstreet Boys — the crowd’s verdict was no surprise. Yet this was a more committed look back than might have been expected, with a loose narrative arc tracing No Doubt’s ascent (rather than its peak) and a set list filled with deep cuts well beyond the catchy singles that once blanketed KROQ and MTV.
Beneath a massive wraparound screen that flickered with vintage camcorder-style footage from the early 1990s, the group played “Excuse Me Mr.” and “New” and “Total Hate ’95”; Stefani and her bandmates — guitarist Tom Dumont, bassist Tony Kanal and drummer Adrian Young — did “Trapped in a Box,” “End It on This” and “The Climb,” which No Doubt heads on the internet say they hadn’t performed live in nearly three decades.
Then again, for one of those decades, No Doubt wasn’t performing at all. The band made its ballyhooed comeback in 2024 at Coachella, where it delivered a punchy, compact set of hits and brought out Olivia Rodrigo for a guest spot that demonstrated Stefani’s influence — musical, attitudinal, sartorial — on the generation of female pop stars that came after her. (At Sphere, Stefani’s taste in plaids and animal prints was clearly still casting a spell among her admirers.)
No Doubt’s Sphere residency is scheduled to run through mid-June.
(John Shearer)
The takeaway from Coachella was that the band had worked itself back into fighting shape; Stefani, in particular, seemed eager to prove that her years doling out niceties on “The Voice” and dabbling in country music with her husband, Blake Shelton, hadn’t dulled her edge. Here, the band went further, using Sphere’s state-of-the-art environs to imagine itself back in a dingy club or student union.
There were big visual moments, including a simulated trip through a crumbling amusement park — the “Tragic Kingdom” of the group’s breakout 1995 LP — and a bit with a stories-tall cartoon Stefani towering over the room in her fishnets and combat boots. And even with all of the obscurities, it’s not as though No Doubt skipped its best-known songs: “Bathwater” and “Spiderwebs” were bouncy yet propulsive, while “Underneath It All” and “Hella Good” showcased the players’ nimble rhythmic interplay. Stefani’s voice was at its pleading best in “Don’t Speak,” one of the great pop ballads of the last 30 years, and “Simple Kind of Life,” which was accompanied by a video starring Stefani and Kanal acting out some episode from their ancient romance.
Before “Ex-Girlfriend,” which Stefani wrote amid her doomed marriage to Gavin Rossdale of Bush, the singer said, “It gives me — what is it? The PTSD. But because I absolutely adore you guys, I’m gonna suffer.”
Yet this was the chapter of No Doubt’s story — basically the apex of its popularity — that the band seemed least interested in exploring on Wednesday. The impression you got was that Stefani and her pals hadn’t come to Vegas to cruise or to gloat or even to soak up the easy adulation that’s always on offer here; weirdly, they’d come to remember the struggle.
The global pop star’s company, TAS Rights Management, filed three new trademark applications last week, per the U.S. Patent & Trademark Office. Two of the applications relate to soundbites of her voice, saying the phrases “Hey, it’s Taylor Swift” and “Hey, it’s Taylor.” The other is a well-known image of Swift, often representative of her recent Eras tour, featuring the 36-year-old onstage, holding her pink guitar and dressed in a shimmering bodysuit.
In January, the “Interstellar” actor secured eight trademarks for his likeness, including images of him smiling and the iconic recording of him saying, “Alright, alright, alright,” from the 1993 movie “Dazed and Confused.”
“My team and I want to know that when my voice or likeness is ever used, it’s because I approved and signed off on it,” the actor told the Wall Street Journal in January. “We want to create a clear perimeter around ownership with consent and attribution the norm in an AI world.”
Registering a trademark for a celebrity’s speaking voice to defend against the prospect of AI-voice generation is a novel legal approach that has not yet been tested in court. Representatives for Swift did not respond to a request for comment on the intent of the recently filed trademarks. But Josh Gerben, one of the first attorneys to report Swift’s latest legal moves, said this is one of the growing gaps in intellectual property protection that AI can exploit.
Before AI infiltrated the internet, musicians, like Swift, would typically rely on copyright law to help prevent the unauthorized use and distribution of their music, while right to publicity laws would protect them from unlawful commercial use of their likeness. But with AI, users can manipulate people’s voices and images to sing or say practically anything.
So if McConaughey has a trademark on his voice saying a phrase, then theoretically any AI-generated voice that sounds similar to it could be considered a violation of that trademark, according to Gerben.
“If they have this trademark protection in place, then the [AI] platforms can’t use that same voice to create new content,” Gerben said. “Every celebrity would essentially have to go and do the same thing, but it’s trying to cut this off at the source as much as possible.”
Variety first reported news of Swift’s trademark filing.
As one of the most popular musicians, Swift has dealt with her share of unauthorized AI-generated content. She was previously one of the many female celebrities whose likeness was among several of Meta’s AI chatbot virtual celebrities. The illicit chatbots allegedly produced pornographic images. Before the 2024 presidential election, Donald Trump also shared AI-generated images of Swift falsely suggesting that she had endorsed him, including one of her dressed as Uncle Sam with the words, “Taylor wants you to vote for Donald Trump.”
Because Swift is such a recognizable public figure, Luke Arrigoni, the chief executive of Loti AI, a tech company that focuses on likeness protection, said trademark filings like these aren’t merely defensive but rather a setup for a long-term protective infrastructure.
“By locking down these trademarks now, she’s ensuring that if a brand wants to use a ‘Swift-like’ AI voice in 2027, they’ll have to go through her authorized gates or face federal trademark infringement,” Arrigoni said in a statement. “She’s essentially putting a price tag on her digital self, and that’s exactly where the entire talent industry needs to go to survive.”
Dylan Carter, a contestant on Season 24 of “The Voice,” died in a car accident on Saturday.
According to the NBC affiliate serving the Lowcountry region of South Carolina, the musician died in a single-vehicle crash on a rural road in Colleton County. He was 24.
Country music legend Reba McEntire, who was Carter’s coach on “The Voice,” posted a tribute on social media Monday morning, writing, “We will miss Dylan so much. He was a brilliant, kind and talented young man who brought a huge ray of sunshine to The Voice. Rest in peace, my dear friend.”
Moncks Corner Mayor Thomas Hamilton Jr. also memorialized the Lowcountry singer, writing on Facebook that his family was “heartbroken” to hear about the accident.
“As a gifted singer, he frequently entertained our community with his performances at Town events,” read the post. “His kindness and charm earned him immense respect, and his absence will be deeply felt.
“To the loved ones and acquaintances of Dylan, we offer our sincerest condolences during this difficult period. The Town of Moncks Corner, its Council, and entire staff extend their deepest sympathies. He was much more to our family than an entertainer he was our friend and we are deeply saddened.”
Carter was slated to perform Monday night at the town of Moncks Corner’s “Music on Main” event. The organizer posted that the event had been canceled, and the comments section was filled with an outpouring of shock and grief.
Carter competed on Season 24 of “The Voice” in 2023. During his blind audition, he sang Whitney Houston’s “I Look to You,” which he dedicated to his mother, who had died the year before. During his audition, all four judges turned their chairs for the contestant, with Gwen Stefani hitting her red button during the song’s first verse.
“You only get four chairs if you really move the room,” said judge Niall Horan, who called his performance spectacular.
McEntire was choked up and said she could feel and hear Carter’s emotion while he sang. “That’s when you know you’ve got a great song and a great singer,” she said. “When it touches your heart.”
“When I saw y’all turn around, I saw my mom,” Carter told the judges. “She passed back in October and she wanted me to sing it at her funeral, so I did it — I tried, but I couldn’t make it through it. This was the best second chance. I just made her so proud.”
After Carter was eliminated from the competition series, he posted on Instagram, reflecting on his experience: “Well last night did not go as we all were hoping, but I am proud to say that I went out there on that stage and gave it MY ALL.”
Carter admitted that he felt defeated when he was eliminated, adding, “but it did not take me long to realize that I actually didn’t lose anything, instead I gained EVERYTHING!”
“I came to The Voice unsure of myself, unsure of my future, and still grieving the loss of my mom. I left LA with confidence in myself and my future, with a sure purpose as to why I was put on this Earth, and with peace of mind moving on from my mom’s death. I’ve been afraid of moving on from my mom’s death because I thought moving on meant forgetting her. Boy was I wrong!!! I’m moving forward with her, as she shines through me! All she ever wanted was for me to find myself, to find my voice, and for me to be happy…. I left LA with all of that plus more!!! I even gained all of you guys.”
The South Carolina Highway Patrol is investigating the accident.
Africa has shown itself in the past week again as a continent of dramatic contrasts, in which moral leadership, political turmoil, and financial aspiration come into collision in a manner that would not only chart its own future but also that of the world. The continent is going through a time that is both precarious and radical, as the potent moral rhetoric of a papal visit gives way to an ever-worsening political persecution and systemic economic disparities.
A Moral Voice in a Fractured Continent
The visit of Pope Leo in some parts of Africa, such as Angola and Cameroon, has been one of the most intriguing this week. His message attracted crowds of more than 10,0000 people, and it was not only religious but also very political, declaring Africa a beautiful but wounded continent and demanding unity, justice, and an end to violence.
It is not only the size of the meetings but also the content of the message that is important. The Pope was outspoken in an attack on corruption, inequality, and exploitative governance systems—the problems that are at the core of most of the struggles in Africa today. His words about people being more important than corporate interests are well-received in a continent where natural resource wealth has not always translated into widespread prosperity.
This visit was, in a sense, a symbol of a greater fact: Africa is not merely economically or politically challenged; it is morally and structurally challenged. The unity cry in Angola, the nation that is yet to overcome the adverse effects of decades of civil war, is a symptom of the bigger continental necessity to mend the wounds of the past and deal with the inequalities of the present.
Political Tensions and Disappearance of Space of Dissent
As the moral pleas of unity reverberated in stadiums, political realities on the ground painted an even more disturbing scenario. The South African arrest of activist Kemi Seba is part of an increasing trend in some parts of Africa, where there is an increased crackdown on dissenting voices.
Seba, the anti-colonial and anti-Western rhetoricist and critic of Western influence, now risks extradition to Benin on charges of inciting rebellion. His detention highlights a broader conflict: the fight between state power and political activism in an area where the democratic institutions are not yet balanced.
This is not a one-time event. Governments all over the continent are striking a fine balance between ensuring stability and political expression. In other instances, this equilibrium is leaning towards control over being open, and this leaves one worrying about the future of democratic governance.
The consequences are not confined nationally. The political situation in Africa is a topic of keen interest to the rest of the world, not just due to its size and population but because it offers one of the final avenues of democratic growth in the 21st century. Political space is reduced here, causing ripples way beyond the continent.
Structural Gaps in Economic Promise
Africa is still a puzzle economically. On paper, the figures are encouraging. Recently, South Africa obtained the promise of billions of investments, which indicates a great interest of other countries in the areas of green energy, infrastructure, and digital development. But the facts speak otherwise. Of these promised investments, only around 42 percent have been translated into real economic activity—much less than world averages. This delivery gap is indicative of an ongoing problem: it is one thing to attract investment and another to implement it.
Simultaneously, the recent climate financing agreement of South Africa with Germany that provides hundreds of millions of euros of loans and green energy assistance reminds us about the increased role of the continent in the global climate plan. Africa is also being increasingly viewed not only as a beneficiary of aid but also as a prime actor in the shift to sustainable energy.
However, structural problems are quite rooted. The effectiveness of economic initiatives is still hampered by policy inconsistency, poor infrastructure, and governance issues. Even the most ambitious plans of investment have a chance of failing without these underlying problems being addressed.
The Overlooked Crisis: Environment and Illicit Economies
The other trend of importance this week has been the further increase in wildlife trafficking in Nigeria, even though the legislation has been taking measures to reduce it. A lack of complete legislation on wildlife protection has allowed the illegal trade to continue, with several seizures of endangered species over the past few months.
The problem is indicative of a larger problem: that of a nexus between environmental degradation and ineffective enforcement. Africa has one of the most biodiverse regions in the world, but it is rapidly being threatened by illegal trade, climate change, and the exploitation of resources.
The inability to adequately deal with such problems not only damages the ecosystems but also weakens the governance and the stability of the economy. In places where there is poor regulation, illegal economies flourish and, as a result, establish parallel economies that undermine state power and promote corruption.
Africa: Moment between Opportunity and Uncertainty
Collectively, what happened this last week shows a continent at a crossroads. On the one hand, there is an increasing international appreciation of the significance of Africa, be it in climate policy, economic investment, or geopolitical strategy. Conversely, internal threats persist to restrict its ability to exploit these opportunities to their full potential.
The message of unity and justice that the Pope is calling for is the spirit of this moment. Africa is not poor in resources, talent, and potential. The greater challenge it confronts is alignment itself, leadership and citizens, economic growth and social equity, and global engagement and local realities.
Conclusion: A Turning Point, Not a Passing Moment
The events of this week do not represent one-off headlines, but they are evidence of larger trends that are defining the future of Africa. The continent is not just responding to the global events—it is steadily becoming one of the main arenas where the global issues are acted out.
The doubt now arises whether Africa will be able to utilize this moment of attention to become a changed continent. Will investment be translated into development? Will politics become more open? Do ethical demands of cohesion result in practical change?
The responses are unclear. Nevertheless, there is one thing that is clear: Africa is never at the periphery of world affairs any longer. It is here in the center, and what occurs here during times of this kind will make the continent and indeed the world.
Pope Leo XIV has stepped into a more assertive global role, adopting a sharper and more direct tone on international issues during his recent Africa tour. After maintaining a relatively cautious profile in the early months of his papacy, Leo has begun openly criticising war, inequality, and global power imbalances. His remarks have drawn repeated criticism from Donald Trump, particularly over his condemnation of the U.S.-Israeli war involving Iran.
Shift in Tone and Leadership Style: Leo’s recent speeches mark a clear departure from traditional Vatican restraint. Speaking in African देशों such as Cameroon and Algeria, he has issued strong warnings about global injustice, accusing powerful actors of undermining peace and violating international norms. This more confrontational approach reflects a deliberate effort to position the papacy as an active moral voice in global affairs.
Clash with Political Power: The pope’s remarks have brought him into direct conflict with Trump, who has publicly criticised Leo’s views on foreign policy. This exchange underscores a broader tension between moral authority and political leadership, particularly as the pope challenges the conduct of powerful nations in ongoing conflicts.
Moral Authority on the Global Stage: Observers suggest Leo is consciously embracing a more visible and influential role, using his platform to highlight the human cost of war and inequality. His decision to deliver strong messages while visiting regions affected by poverty and conflict adds weight and immediacy to his statements, reinforcing his image as a global moral leader.
Breaking with Vatican Convention: Traditionally, the Vatican has balanced moral advocacy with diplomatic neutrality to preserve its role as a mediator. Leo’s more direct criticism signals a shift in that balance, prioritising clarity and urgency over cautious diplomacy. This approach echoes, but may exceed, the tone of predecessors such as Pope Francis, who also spoke out on global injustices but often with more measured language.
Personal Experience and Perspective: Before becoming pope, Leo formerly Robert Prevost spent decades in Peru, where he witnessed conflict, poverty, and political instability firsthand. These experiences appear to inform his willingness to speak bluntly about violence, corruption, and the failures of global leadership.
Analysis: Pope Leo’s emergence as a more forceful voice reflects a strategic and moral recalibration of the papacy’s role in global politics. By speaking more directly, he aims to assert the Church’s relevance in an increasingly volatile world, particularly at a time when traditional diplomatic mechanisms appear strained.
However, this approach carries risks. Greater outspokenness may enhance moral clarity but could also limit the Vatican’s ability to act as a neutral mediator in conflicts. The public clash with Trump highlights how easily moral interventions can become entangled in political disputes.
Ultimately, Leo’s leadership signals a shift toward a more activist papacy, one that prioritises direct engagement with global crises over cautious neutrality. Whether this strengthens the Church’s influence or complicates its diplomatic role will depend on how effectively he balances moral authority with geopolitical realities.
