Category: Entertainment

Entertainment news and reviews

  • Philly music featuring Jingle Ball, mgk, the Happy Fits, the Starting Line, and Algernon Cadwallader

    Philly music featuring Jingle Ball, mgk, the Happy Fits, the Starting Line, and Algernon Cadwallader

    This week in Philly music features hometown shows by two reunited Philadelphia pop-punk bands in the Starting Line and Algernon Cadwallader, plus South Philly arena dates with the artist formerly known as Machine Gun Kelly and the all-star Jingle Ball tour. Also on tap: Club shows with the Dream Syndicate, Rhett Miller, and Greg Mendez.

    Pittstown, N.J.-born and Philly-based pop-rock quartet the Happy Fits headline the Fillmore on Thursday. The band, fronted by singer and electric cellist Calvin Longman, is on tour for Lovesick, their snappy fourth album, and first since founding member Ross Monteith left the band and new members Nico Rose and Raina Mullen (who sings lead on the title track) joined up.

    The ‘60s and early ‘70s live in the music of the Heavy Heavy, the Brighton, England, duo of Will Turner and Georgie Fuller, whose songs stand on their own while being unashamed for their affections for counterculture-era rock sounds.

    Will Turner and Georgie Fuller of England’s the Heavy Heavy play Brooklyn Bowl on Thursday.

    The band that previously recorded a psychedelic version of Father John Misty’s “Real Love Baby” plays Brooklyn Bowl Philadelphia on Thursday.

    JD McPherson’s most recent album of rockabilly and old school R&B-influenced originals was last year’s Nite Owls. Hopefully, the Oklahoma singer-guitarist will dip into his entire discography, but his show Thursday night at Arden Gild Hall in Wilmington is a “A Rock ’N’ Roll Christmas Tour” stop centered on the songs on his 2017 album Socks.

    Algernon Cadwallader play Union Transfer on Dec. 13.

    King Mala is Los Angeles alt-pop artist Areli Lopez, the El Paso native who’s touring behind her Billie Eiish-ish moody full-length debut And You Who Drowned in the Grief of a Golden Thing. She’s at Nikki Lopez on South Street with Dezi opening.

    If Steve Wynn isn’t touring doing solo shows, or playing with indie supergroups Gutterball and the Baseball Project (the latter with whom he was in Philly in September), he’s on the road with the Dream Syndicate, the band that emerged from the 1980s Los Angeles psychedelic rock scene known as the Paisley Underground.

    The band’s 1984 album Medicine Show mixed neo-noir mystery and Southern literary flair on epic guitar tracks like “John Coltrane Stereo Blues.” They’ll open with a set that surveys their career before playing Medicine Show in its entirety at Johnny Brenda’s on Friday.

    Rhett Miller divides his time between the Old ‘97s and his solo career. His ninth Rhett Miller album is the new A lifetime of riding by night, which is a stripped-down affair that was recorded before (successful) vocal surgery and captures him in a reflective, philosophical mood. He plays Free at Noon at Ardmore Music Hall on Friday, then heads down the road to play 118 North in Wayne that night.

    Rhett Miller plays Free at Noon at Ardmore Music Hall on Friday and 118 North in Wayne later that night. The Old ’97s singer’s new solo album is “A lifetime of riding by night.”

    Philly “apocolectric” folk-rock quartet Bums in the Attic celebrate the release of their The Denouement EP at Dawson Street Pub on Friday, with Ms. J & the Cresson Street Band and Anthony Baldini.

    Philly pop-punkers the Starting Line — originally from Churchville in Bucks County — have released only three albums in an initial burst of activity that began with 2002’s release, Say It Like You Mean It.

    Philly pop-punk band the Starting Line’s new album “Eternal Youth” is their first in 18 years. They play two nights at the Fillmore Philly on Friday and Saturday.

    The band went on hiatus in 2008, but has regrouped for several tours throughout the years and got a boost in the pop cultural consciousness in 2024 when Taylor Swift name-checked them in “The Black Dog” from The Tortured Poets Department. Now they’re back in earnest with Eternal Youth, their first album in 18 years, and shows at the Fillmore on Friday and Saturday.

    Jon Langford & Sally Timms of the Mekons return to the charming confines of Harmonie Hall in Manayunk on Saturday. Expect a survey from the 40-plus year career of the Leeds, England-born country-punk pioneers featuring the divine-voiced Timms and offhand brilliance of the prolific Langford, who will be coming back to Philly together with the full-sized Mekons at the Latvian Society in June.

    Detroit rapper Danny Brown plays the Theatre of Living Arts on Saturday. His new album is “Starburst.”

    Inspired and eccentric Detroit rapper Danny Brown plays the Theatre of Living Arts on South Street on Saturday. He’s touring behind his new album Stardust, which vividly chronicles his journey to sobriety.

    Algernon Cadwallader hail from Yardley in Bucks County. But in a world of inscrutable micro-genres, they’re often labeled a “Midwest emo” band. After going their separate ways after their 2011 album Parrot Flies, the band that includes singer Peter Helmis and guitarist and Headroom Studio owner Joe Reinhart (also a member of Hop Along) got back together in 2022. Trying Not to Have a Thought, their first album in 14 years, came out in September, and they’re playing a hometown show at Union Transfer on Saturday, with Gladie and Snoozer opening.

    Machine Gun Kelly gets slimed after performing “Cliche” during the Nickelodeon Kids’ Choice Awards on Saturday, June 21, 2025, at The Barker Hangar in Santa Monica, Calif. The artist, now known as mgk, plays Xfinity Mobile Arena on Sunday. (AP Photo/Chris Pizzello)

    Mgk isn’t just shorthand for Philly classic rock radio station WMGK-FM (102.9). It’s now the stage name of the artist formerly known as Machine Gun Kelly, who ditched his previous moniker in 2024 to disassociate himself from gun violence.

    The rapper and singer is touring behind his new album, Lost Americana, which was released in June accompanied by a trailer narrated by none other than Bob Dylan, who is apparently his biggest fan. “From the glow of neon diners to the rumble of the motorcycles,” Dylan said. “This is music that celebrates the beauty found in the in-between spaces. Where the past is reimagined, and the future is forged on your own terms.” The “Lost Americana” tour comes to Xfinity Mobile Arena on Sunday.

    Philly indie songwriter Greg Mendez is playing one more show in the super-intimate side chapel of the First Unitarian Church on Monday. This Mendez and Friends show features guest Amelia Cry Till I Die, Mary St. Mary and Shannen Moser singing traditional folk ballads. Most likely they will be making beautiful music together.

    BigXthaPlug performs during the Bonnaroo Music and Arts Festival in Manchester, Tenn., on June 13, 2024. The Texas country rapper plays the Jingle Ball at Xfinity Mobil;e Arenea on Monday. (Photo by Amy Harris/Invision/AP)

    On Monday, it’s the Jingle Ball. This year’s iHeart Radio package tour of hitmakers at Xfinity Mobile Arena runs alphabetically from AJR to Zara Larsson. The show presented by Q102 — Philly station WIOQ-FM (102.1) — serves up a crash course in contemporary pop with Alex Warren, BigXthaPlug, Laufey, Monsta X, Miles Smith and Raven Lenae, plus a KPop Demon Hunters sing-along.

  • Your next chance to get FIFA World Cup tickets starts Thursday

    Your next chance to get FIFA World Cup tickets starts Thursday

    The 2026 FIFA World Cup is officially six months away, and Philadelphians’ next chance to buy general admission tickets starts Thursday.

    From Dec. 11 to Jan. 13, fans can enter a lottery for the chance to buy World Cup match tickets, like the two previous lottery phases. The “random selection draw” is the third of several ticket sale phases leading up to the World Cup’s first match on June 11, 2026, in Mexico City.

    During the first two ticket phases, the United States, Canada, and Mexico (in that order) drove the bulk of ticket sales, according to FIFA. Fans in 212 countries have bought tickets.

    However, since the final draw on Friday, the World Cup matchups and schedule have been finalized. This will be the first ticket sale phase in which fans can apply for single-game tickets for exact matchups and teams.

    Next year’s World Cup will take place in 16 cities across the United States, Canada, and Mexico, including in Philadelphia, where six matches will be played. Powerhouses Brazil and France, home to some of the world’s best players, are confirmed to be playing in the City of Brotherly Love.

    Brazil’s Raphinha (center) celebrates with teammate Vinícius Júnior after scoring his side’s opening goal against Venezuela during a World Cup qualifying match.

    How to enter the random selection draw for FIFA World Cup tickets

    To enter the ticket lottery, applicants must first create a FIFA ID at FIFA.com/tickets.

    The lottery application form will become available on FIFA’s website starting at 11 a.m. Thursday and will close at 11 a.m. on Jan. 13.

    Log in during the application window and complete the random selection draw application form.

    Winners will be selected in a random draw, with notifications starting soon after Jan. 13. Those selected will receive an assigned date and time to purchase tickets, subject to availability.

    Single-match tickets to all 104 games, plus venue-specific and team-specific options, will be made available to choose from. That means fans in the Philadelphia area could buy tickets for matches at Lincoln Financial Field — if selected.

    Fans who have applied to previous ticket sale lotteries must submit a new application form.

  • Jimmy Kimmel signs one-year contract extension with ABC

    Jimmy Kimmel signs one-year contract extension with ABC

    Despite President Donald Trump’s wishes, Jimmy Kimmel won’t be going off the air any time soon.

    ABC announced the network signed a one-year contract extension with the late-night host on Monday.

    Kimmel’s previous, multiyear contract was set to expire in May. The extension means Jimmy Kimmel Live! will continue through at least May of 2027.

    The news comes on the heels of Kimmel’s temporary suspension following remarks he made about the assassination of conservative activist, Charlie Kirk. Trump praised the suspension at the time.

    Following a public outcry, ABC lifted the suspension, and Kimmel returned to the air with stronger ratings than he had before.

    Since then, Trump has continued to take jabs at Kimmel, who has resumed making jokes and digs at the president’s expense, performing a 10-minute monologue on Trump and the Jeffrey Epstein files in one episode and ragging on his approval ratings.

    Kimmel lingered on Trump’s mind Sunday as the president hosted the Kennedy Center Honors in Washington.

    “I’ve watched some of the people that host,” Trump said. “Jimmy Kimmel was horrible, and some of these people, if I can’t beat out Jimmy Kimmel in terms of talent, then I don’t think I should be president.” (Kimmel has never hosted the Kennedy Center Honors. He has hosted the Oscars four times.)

    Trump has continued to set his sights on other late-night TV hosts, including Stephen Colbert — whose show will end in May with CBS citing financial reasons for its cancelation — Jon Stewart, and, most recently, Seth Meyers.

    Stewart will remain at his weekly post on The Daily Show for another year, Paramount, a Skydance Corporation, announced last month. Meyers’ Late Night with Seth Meyers is under contract with NBC through 2028.

    The Associated Press contributed to this article.

  • Philly native Sheinelle Jones will replace Hoda Kotb as ‘Today’ show co-host

    Philly native Sheinelle Jones will replace Hoda Kotb as ‘Today’ show co-host

    Philadelphia native Sheinelle Jones will be taking over Hoda Kotb’s chair on Today.

    Jones will join Jenna Bush Hager as a permanent co-host starting Jan. 12, Hager announced on Tuesday morning, after nearly a year of rotating 60 fill-ins, including Jones, to find the perfect person to fill the shoes left by Kotb earlier this year.

    During her stint as a fill-in co-host in September, Jones exchanged pleasantries with Hager as if it were a first date.

    “Hopefully this will be a date where you walk away and go, ‘OK, hopefully she calls me tomorrow!’” Jones said to Hager on Today.

    “You’re coming back,” Hager promised.

    Today with Jenna & Sheinelle marks a new chapter for Jones, since she joined the chatty morning show in 2014. Before hitting the national stage, she worked at local station Fox 29 for nine years, including as co-host of Good Day Philadelphia.

    Left to Right: Jennaphr Frederick, Sheinelle Jones, and Sue Serio of Fox Good Day Philadelphia backstage preparing for The Career Wardrobe fashion show on Saturday, June 9, 2011, at the Hyatt at the Bellevue.

    The announcement comes just months after the death of Jones’ husband, Uche Ojeh, 45, who died in May while battling an aggressive form of brain cancer. After returning to Today in September, she joined Hager live to share her experiences: “My coach was gone, right? My life partner. The days after my first week were tough. Because it’s my new normal,” she said.

    The two met as college sweethearts at Northwestern University when Jones, a freshman, showed Ojeh, a high school senior, around campus. Married in 2007 at Rittenhouse Square’s Church of the Holy Trinity, the couple would later have their son Kayin, 15, and twins Clara and Uche, 12.

    Jones was on leave since January to care for her family before returning in September to her post at the 9 a.m. show alongside Dylan Dreyer, Al Roker, and Craig Melvin.

    NBC News executive vice president Libby Leist and Jenna & Friends executive producer Talia Parkinson-Jones celebrated Jones’ addition to the show.

    “Sheinelle has been a cherished member of NBC News for more than 11 years,” the executive said in a joint statement. “From standout interviews with newsmakers and celebrities to her iconic Halloween performances as Beyoncé and Tina Turner, she has captivated audiences time and again.”

  • Philly will host a five-week-long arts festival as part of America 250

    Philly will host a five-week-long arts festival as part of America 250

    A new arts festival will launch in Philadelphia in 2026 as one of the major events marking the nation’s 250th anniversary. What Now: 2026 is planned to be a five-week-long festival from the nonprofit ArtPhilly. The festival aims to showcase the city’s artistry and talent for both tourists and neighbors alike.

    Dozens of Philadelphia artists across disciplines will present more than 30 original works, staged from late May to July 2026 in venues around Philadelphia, coinciding with the Fourth of July and FIFA World Cup matches as part of the city’s Semiquincentennial events.

    What Now: 2026 will feature new works by Philly artists such as filmmaker Walé Oyéjidé, poet Yolanda Wisher, opera singer/drag queen Cookie Diorio, photographer and pop-up book creator Colette Fu, and sculptor Pedro Ospina. Institutional collaborators in the region will include BalletX, BlackStar, Philadanco!, the Crossing, and Theatre in the X.

    One highlight is The Basil Biggs Project, a new play from actor and playwright Anna Deavere Smith, an alum of Arcadia University. Her great-great-grandfather was a farmer and veterinarian in Gettysburg who, during the Civil War, took a job disinterring and reburying Union soldiers on the battlefield. Smith wrote the work using archival research on her family’s history.

    The festival is the brainchild of renowned local philanthropist Katherine Sachs, a longtime trustee and benefactor of the Philadelphia Art Museum, and arts administrator Bill Adair, who previously led programs at the Pew Center for Arts & Heritage and the Rosenbach Museum & Library.

    Sachs began planning What Now: 2026 in the winter of 2021 to ensure that the arts remained central to the city’s celebration. She gathered a committee of regional arts leaders including Barnes Foundation head Thom Collins, Mann Center for the Performing Arts president Cathy Cahill, and Mural Arts director Jane Golden to brainstorm meaningful ways to spotlight Philadelphia’s artists.

    “I just thought we could do a better job than we did in 1976 [for the Bicentennial],” said Sachs, who serves as chair of ArtPhilly. “We want people to see what Philly has to offer every day of the year, so they come back.”

    “We’re rah-rah sports. We’re rah-rah about our history and our Independence Hall, and Liberty Bell,” said Adair, ArtPhilly’s creative and executive director. “Those are amazing parts of our identity and who we are, but we know that the arts and culture sector is one of the strongest in the country and the world, and we deserve to be known for that.”

    Part of the duo’s work involved creating the nonprofit organization ArtPhilly, that would provide infrastructure and allow for planning the inaugural festival in 2026 and also future years. Sachs and Adair plan for it to be a recurring festival every two or three years.

    The pair fundraised about $7.5 million for ArtPhilly and the festival with support from the William Penn Foundation and the Pew Center for Arts & Heritage along with private foundations and corporate sponsors. ArtPhilly also received $750,000 from the Philadelphia Funder Collaborative for the Semiquincentennial.

    Working with choreographer Tania Isaac, ArtPhilly’s curatorial and deputy director, they selected 17 Philadelphia curators who proposed 45 projects. The team narrowed down the list to 32 works that received between $20,000 to $400,000 in project funding.

    “Other cities have done [festivals like] this, and the return on the investment is about six times, meaning the economic impact is really pretty great, between the hotels and restaurants, and what the artists have to build and all the people that you have involved,” said Sachs.

    Los Angeles’ Pacific Standard Time festival was a helpful model. Sachs said the result led to increased attendance at institutions in the city, a major goal for Philadelphia organizations that have struggled with foot traffic since the COVID-19 lockdown.

    “Artists are going to interpret this anniversary in a way that no one else can … For us, this festival isn’t a celebration of the anniversary, as much as it is a kind of marking and interrogation of the anniversary. Hence the question, ‘What now?’,” said Adair. “We feel like we’re adding something very important to the public discourse around the anniversary by having artists as the interpreters, but also the provocateurs.”

    What Now: 2026 projects include:

    This article was updated after receiving a revised total for the amount that the Philadelphia Funder Collaborative for the Semiquincentennial granted ArtPhilly.

    This article was updated to reflect Jane Golden’s current title.

  • All the Golden Globe Awards nominees with ties to the Philly region

    All the Golden Globe Awards nominees with ties to the Philly region

    Pennsylvanians know how to bring home a trophy, from the reigning Super Bowl champions to Philly natives awarded an Oscar.

    The Golden Globe Awards on Monday announced its nominees for the best in television and movies, and with it, another chance for victory for regional productions and local actors.

    The ceremony airs Jan. 11 with awards given in 28 categories.

    The Abbott Elementary crew visits the Always Sunny gang at Paddy’s Pub in the “It’s Always Sunny in Philadelphia” and “Abbott Elementary” crossover.

    In its fifth season, Abbott Elementary has already won the hearts of Philadelphians and three Golden Globes. Still, this wholesome band of teachers, starring Philly-native Quinta Brunson, is up again for best musical or comedy television series.

    HBO’s Task and Peacock’s Long Bright River, two crime thrillers set in Philadelphia neighborhoods and suburbs, both have leading actors nominated for Golden Globes this season.

    Mark Ruffalo as Tom, Alison Oliver as Lizzie, Thuso Mbedu as Aleah, and Fabien Frankel as Anthony in “Task.”

    In Task, Mark Ruffalo plays an FBI investigator hunting down thieves targeting drug houses in Delco. While Ruffalo may not know the definition of “jawn” in real life, his portrayal of a tortured former priest turned agent resonated with critics and earned a nomination for best male actor in a dramatic television series. The Inquirer compiled a list of the real-life locations used in the show.

    Amanda Seyfried (left) and Asleigh Cummings in the Kensington-set Peacock series “Long Bright River,” based on the novel of the same name by Temple professor and novelist Liz Moore.

    Liz Moore’s crime novel Long Bright River turned heads when it was released in 2020, detailing the harrowing story of a Kensington police officer, played in the series by Amanda Seyfried, searching for her sister in a cat-and-mouse chase with a killer targeting sex workers. While the television adaptation was filmed in New York City, the bulk of the show takes place in Kensington and other Philadelphia neighborhoods, with Seyfried grabbing a nomination for best female performance in a dramatic limited series.

    Hometown stand-up icon Kevin Hart was back to his roots with a new comedy special, Kevin Hart: Acting My Age, tackling injuries after 40, Chick-fil-A’s spicy chicken sandwich consequences, and slipping in the shower. He earned a nomination for best stand-up comedy performance on television.

    Host Kevin Hart speaks during the BET Awards on Monday, June 9, 2025, at the Peacock Theater in Los Angeles.

    The Golden Globes are introducing a new best podcast category this year, for which Bucks County native Alex Cooper is nominated for her sex-positive show, Call Her Daddy. Alongside celebrity guests like Gwyneth Paltrow, Miley Cyrus, and Kamala Harris, Cooper delves into the taboo of female pleasure and pop culture. She grew the show’s popularity into a $60 million Spotify deal in 2021.

    And through a few degrees of separation, several other nominees can be claimed as Philly-adjacent.

    Hannah Einbinder, whose father is from Doylestown, accepts the award for outstanding supporting actress in a comedy series for “Hacks” during the 77th Primetime Emmy Awards on Sunday, Sept. 14, 2025, at the Peacock Theater in Los Angeles. (AP Photo/Chris Pizzello)

    Take Hacks actress Hannah Einbinder, who shouted “Go Birds!” during her speech after winning an Emmy for best supporting actress in a comedy series, and was filmed by the evening news crying in the streets of Los Angeles after the Eagles’ 2018 Super Bowl win.

    She may not be from Philadelphia (her father, actor Chad Einbinder, is from Doylestown), but she reps the city. HBO’s Hacks, which follows a veteran Las Vegas comic mentoring a young comedy writer, is up for best musical or comedy television series, with Einbinder and costar Jean Smart nominated for best supporting female actor and best actor in a musical or comedy series, respectively.

    And there are some broader Pennsylvania and New Jersey ties among the nominees.

    The breakout medical drama The Pitt, which takes place in the fictional Pittsburgh Trauma Center, depicts a 15-hour shift in an emergency room, split across 15 one-hour episodes. The Pitt’s lead actor, Noah Wyle (known for his role as Dr. John Carter in NBC’s ER), is up against Ruffalo for best male actor in a dramatic television series.

    Jeremy Allen White as Bruce Springsteen.

    Jeremy Allen White stars in the latest Bruce Springsteen biopic, Springsteen: Deliver Me From Nowhere, and is nominated for best actor in a dramatic film. The production was almost entirely filmed around New Jersey — at the request of The Boss — including in Cape May and other parts of South Jersey.

    After a major overhaul of the award show in recent years, including the sunsetting of the Hollywood Foreign Press Association due to ethics and diversity concerns, the new Golden Globe Awards are judged by a panel of 400 journalists from across the world.

    The Golden Globes will be broadcast live on Jan. 11 at 8 p.m. Philadelphia time on CBS and streaming on Paramount+.

  • Pew announces a new head of arts and culture and millions in grants for Philly

    Pew announces a new head of arts and culture and millions in grants for Philly

    When Christina Vassallo was head of the Fabric Workshop and Museum, she landed several substantial grants from the Pew Center for Arts & Heritage.

    Now she is moving to the other side of that donor-recipient relationship.

    Vassallo is the newly named executive director of the Pew Center for Arts & Heritage, starting Jan. 5, Pew announced Monday.

    “The center embodies everything I value about arts leadership — intellectual curiosity, rigorous support for artists and arts organizations, and a true commitment to public life,” said Vassallo. “So for the center, I’m drawn to its dual identity as a grantmaker and as a hub for ideas, and for the opportunity to connect the arts with civic purpose.”

    Leadership and operational changes at the Pew arts center are closely watched in Philadelphia’s arts and culture community since the center, along with the William Penn Foundation, accounts for some of the largest foundation giving in the area.

    Pew’s center, for instance, also announced on Monday that it has awarded $8.6 million to 44 Philadelphia-area groups — nearly $180,000 to the Black Pearl Chamber Orchestra for a project on Black women composers, $360,000 to Monument Lab for the creation of environmental soundworks as a “living monument to Philadelphia’s birds,” and to projects by Mural Arts Philadelphia, Philadanco, Philadelphia’s Magic Gardens, theater companies, dance troupes, and museums.

    The Magic Gardens, April 27, 2022.

    Vassallo, 45, follows Paula Marincola, who retired in October after serving as the center’s first director, since 2008.

    After leaving the Fabric Workshop in 2023, Vassallo became director of the Contemporary Arts Center in Cincinnati. Before the Fabric Workshop, she was executive and artistic director of the alternative art gallery SPACES, in Cleveland. She was born in the Bronx and grew up in New York City and northern New Jersey, and holds two degrees from New York University — a bachelor’s in art history and a master’s in nonprofit visual arts management.

    Vassallo arrives as Philadelphia’s arts scene grapples with a number of challenges. Many groups are facing the double whammy of attendance numbers that are still lower than pre-COVID levels, and cuts in federal funding under the Trump administration.

    The Pew arts center specifically has undergone a significant change with the 2024 collapse of the University of the Arts, which had been its operational partner. In June, Pew announced that the Barnes Foundation would take UArts’ place, and Vassallo suggested that the Barnes — which also had a hand in her hiring — could take on a more significant role.

    “I think there is tremendous potential there programmatically beyond their administrative role,” said Vassallo, who called the relationship between the Pew center and the Barnes an “evolving” one.

    Dancers from Philadanco, which received a grant from the Pew Center for Arts & Heritage.

    One significant change has already occurred. Vassallo will report to Barnes Foundation executive director and president Thomas Collins, whereas Marincola reported directly to Pew. The Barnes isn’t seen as getting involved with the Pew center’s grant-making process, but, rather, could work with the center on creating new programming.

    “We could imagine partnerships between the [Pew Fellowships in the Arts] fellows … being able to engage in the collection at the Barnes, for example, we can imagine the center and the Barnes partnering on community conversations,” said Elinor Haider, senior director of Pew’s Philadelphia Program.

    The Pew Center for Arts & Heritage will continue to be based in its offices on Walnut Street, Haider said.

    Vassallo called Philadelphia’s arts scene “incredibly rich and vital.” About its challenges, she said — while noting that she needs to relearn Philadelphia’s arts and culture community — that “we are having to find new ways to fund our work. I have seen this in the form of creating new business models, coming up with innovative ways to increase ticket sales and engage current and new audiences to create new revenue streams.”

    She said she has “always been a strong believer in nurturing the next generation of art enthusiasts, ensuring that kids have access to the arts across disciplines.”

    As for future funding priorities, the center has not yet determined whether it will undertake a strategic planning process, she said.

    “Not only are we assessing feedback from grantees and external parties, but we’re also understanding the state of the city, and then you have the various partners involved — you have Pew, you have the center staff, and now you have the Barnes. So I think within that there’s going to be a very special alchemy that starts to further determine the future of center funding decisions.”

    A complete list of Pew’s latest grants to art and culture groups: pewcenterarts.org/2025grants.

  • Eagles will play Chargers in a stadium full of ‘Monsters.’ That’s not the only difference on ESPN’s alt broadcast.

    Eagles will play Chargers in a stadium full of ‘Monsters.’ That’s not the only difference on ESPN’s alt broadcast.

    Dan Orlovsky has four children who are Eagles fans and Disney devotees, so he couldn’t turn this opportunity down. On Monday night, the former NFL quarterback will provide analysis for ESPN’s animated Monsters Funday Football alternate broadcast of the Birds’ matchup with the Chargers at SoFi Stadium.

    The alt-cast, which will air on ESPN2 (as well as the Disney Channel and Disney XD) and stream on Disney+ at 8 p.m., will be a real-time animated broadcast set in the universe of Disney/Pixar’s Monsters, Inc. franchise. It will be the third edition of the Football Funday series, which was set in The Simpsons’ Springfield last season and in the Toy Story franchise in 2023.

    Orlovsky was on the call for the Simpsons broadcast last season, but his children are far more excited about this year’s broadcast.

    “When I had told them I got asked to do Monsters, it was an excitement that was different,” Orlovsky said. “My wife is from Philly, and my kids are crazy Eagles fans. So, when I told them [it was] Monsters and it was an Eagles game, it was, like, to the moon.”

    The alt-cast will use real-time player tracking data to place Saquon Barkley, Jalen Hurts, and the rest of the Eagles in the animated Monsters universe, where they’ll face off against the Chargers inside the cheer factory in Monstropolis.

    The real-time animation is handled by Beyond Sports, an AI-based data analysis and visualization company owned by Sony. Using data from NFL Next Gen Stats and Hawk-Eye Innovations optical tracking, Beyond Sports’ virtual recreation engine will animate live action between the Eagles and the Chargers for viewers.

    Drew Carter and Orlovsky will call the game from ESPN’s headquarters in Bristol, Conn., while wearing tracking suits that allow them to pilot characters in the Monsters universe.

    “We’re in a big studio and they set up a couple monitors where we can watch the regular live broadcast,” Carter said. “We have that synced up with our animated broadcast, which makes it easier to see what’s happening. But, for the most part, I’m looking at 22 cartoons running around and trying to decipher what’s happening.”

    A look inside the “Monsters, Inc.” stadium that will play host to the Eagles-Chargers “Funday Football” broadcast on ESPN2 and Disney+ Monday.

    Carter has done play-by-play for all three of ESPN’s Funday Football alt-casts as well as its animated Big City Greens NHL broadcast. He has high praise for the technology that makes the broadcast possible, but he is preparing for the Eagles’ signature quarterback sneak to push the system to its limits.

    “If they do the Tush Push, I don’t know what’s going to happen to the technology,” Carter said. “It’s going to be very hard to spot the ball when everyone’s animated. That’s the time where I’ll look at the live game.”

    Carter also calls other live events for the network, but the animated games require an extra layer of preparation, especially when he’s unfamiliar with the source material, as he was for The Simpsons alt-cast. Fortunately for Carter, he’s already familiar with Monsters, Inc., which came out when he was a young child. Still, he circled back to the 2001 film and its 2013 prequel, Monsters University, to prepare for Monday’s broadcast.

    “It is kind of like prepping for a regular game,” Carter said. “You just don’t want to be caught off guard by anything. We have an element that rolls in and it’s, for example, the pig from Monsters University. I don’t want to be like, ‘Who the heck is that?’ because I’ve only seen Monsters, Inc.

    ESPN analyst Dan Orlovsky on the set of “First Take.”

    Orlovsky was already very familiar with the Monsters franchise. He has made 15 trips to Disney World with his children. One of his oldest boys, 13-year-old Madden, is interested in animation and drawing and is particularly drawn to the Monsters movies.

    “I’ve seen Monsters, Inc. and Monsters U a dozen times, if not more,” Orlovsky said. “I know the Monsters, Inc. Laugh Floor in Disney World very well. I have a son who is autistic and his superpower is animation and creation. Obviously, that’s one of the cores of Monsters, Inc. when it comes to their characters. So I know it very well.”

    For Orlovsky, the more difficult aspect of the broadcast will be doing less of his X’s and O’s analysis and leaning into the animated aspect of the game.

    “No one who’s watching our alt-cast is watching it for football,” Orlovsky said. “Everybody is watching it for the unique element of it. … My default is to be very football-centric, and so I have to just be very conscious of understanding [that] no one’s watching that game for the football part of it.”

    While the Funday Football broadcasts primarily target younger audiences, Carter says the broadcast can be enjoyed by anyone of any age. John Goodman and Billy Crystal will voice their characters from the film franchise, James “Sully” Sullivan and Mike Wazowski, who will explain basic football rules for young viewers in prerecorded cutaways during the broadcast. There will also be an animated short during halftime that will feature Mike and Sully battling to collect cheers from the crowd.

    “I’m an adult who’s watched football my entire life, and I find those interesting, even though I know the rule they’re explaining,” Carter said. “I just think it’s funny to hear John Goodman as Sully explaining what a football is.”

    A look inside the “Monsters, Inc.” stadium that will play host to the Eagles-Chargers “Funday Football” broadcast on ESPN2 and Disney+ Monday.

    Orlovsky hopes the broadcast can provide a different experience for football fans and the opportunity to enjoy the game as a family.

    “If you’re a family that, you know, you don’t watch the football game together, try this one together,” Orlovsky said. “If your kids and you don’t necessarily stay up late for Monday Night Football, this would be the one time to do it, because it’s just a very different way to take in the game. It’s going to be visually a very cool experience. I think it’s just a great way to share football.”

    For Eagles fans who want to check out the Funday Football broadcast but do not want to miss out on the experience of watching the regular broadcast, the animated alt-cast will be available on demand on Disney+ shortly after the game ends.

  • Philadanco’s Winter Residency boasts of stunning revisions and a soaring premiere

    Philadanco’s Winter Residency boasts of stunning revisions and a soaring premiere

    Philadanco is currently celebrating its 25th anniversary in residence at the Kimmel Center’s Perelman Theater with a mixed bill that showcases the company’s extraordinarily skilled dancers in works by a quartet of award-winning choreographers.

    “Then and Now!,” as the program is called, includes revised productions of pieces by Donald Byrd and Tommie-Waheed Evans, plus a company premiere from Ronald K. Brown and a brand-new work by up-and-comer Juel D. Lane.

    Friday’s opening-night audience was large and enthusiastic, giving an extended ovation to Lane’s Heirborne, a pun on its theme of literal and metaphorical flight.

    In the printed program, Lane cites among his inspirations Bessie Coleman, the first Black woman to hold a pilot’s license, and Mae Jemison, the first African American female astronaut.

    While those specific sources weren’t clear to this viewer, the dancers’ outstretched arms, perfectly controlled suspensions, and quicksilver entrances and exits clearly evoked the sensation of flying.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    It is difficult to single out individuals in this — or, in fact, in any of the works on the program, which frequently had 10 dancers onstage at a time, performing in expert unison. But long-limbed Aliyah Clay began Heirborne with an exquisite solo, moving inside a dramatic shaft of light (designed by Nick Kolin). The piece ended on an even stronger — and unexpected — note when all eight dancers suddenly leaped forward, disappearing into the darkness.

    The music, for this and the other items on the bill, was recorded, favoring mixtures of rap, gospel, and jazz. For Heirborne, Atlanta native Lane chose pieces by several Georgia-based artists: RAHBI, Bryce Raburn, and Leo Ra Soul. Costume designer Anna-Alisa Belous dressed the women in shiny black shorts, a somewhat curious choice, and everyone wore neon-orange suspenders (a nod to airport safety equipment?).

    From Exotica Back to Us, Brown’s contribution to the program, was originally choreographed for Philadanco in 1999 and revised this year.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    Not having seen the earlier version, I can’t comment on how the work has changed. However, its current iteration is stunning: from the richly colored and textured costumes by Wunmi Oliya (a British Nigerian singer, dancer, and fashion designer who also provides part of the score for this piece) to Brown’s seamless combination of traditional West African dance and percussion with his own, distinctive movement vocabulary.

    There is an obvious spiritual and emotional dimension to these short vignettes — as the dancers raise their arms, hide their faces in their hands, or kneel as though in prayer. This powerful effect is enhanced, at several points, by the outstanding work of dancer William E. Burden.

    Tommie-Waheed Evans created Withinverse… in 2018. In Friday’s “refreshed” version, dancer Kaylah Arielle embodies the deep emotions mentioned in the program. Sometimes she and her fellow dancers appear as supplicants, responding to sad, slow gospel music. Yet at other points they seem frantic, their bodies reflecting the heavy, insistent beat of electronic club music.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    Evans has included a series of complicated and innovative lifts, which the dancers execute seemingly without effort. They are equally expert when performing challenging passages in unison.

    The evening begins with Everybody by Donald Byrd. Billed as a parody, it seems more like an uneasy hybrid than, say, the comedic works of Mark Morris or Les Ballets Trocadero de Monte Carlo.

    This work contrasts a harpsichord piece by J.S. Bach with hip-hop music by Ruffhouse, and Natasha Guruleva’s costumes reveal foppish men (notably the statuesque Yasir Jones) dressed in ruffled tunics, while the women wear tutus. Yet everyone is barefoot, alternating between impeccable ballet technique and decidedly non-classical body language.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    The comparison is amusing, and — as a classically trained flutist who, in his youth, spent six years studying with the celebrated ballerina Mia Slavenska — Byrd knows his way around both Baroque music and classical dance. He enjoys himself by inserting sly touches of physical humor, here and there, and excels at creating intricate and unusual partnering sequences for two or more individuals.

    In a brief pre-performance introduction, Tommie-Waheed Evans (who is also the company’s co-artistic director, along with Kim Bears Bailey) noted that Philadanco had just returned from a successful, multicity tour of Germany. This troupe, which the indomitable Joan Myers Brown established 55 years ago, has many reasons to be proud. But, next time, I hope that ’Danco will include the work of at least one female choreographer.

    Philadanco, “Then and Now!” through Dec. 7, Perelman Theater, 300 S. Broad St. Tickets $43-$63. 215-387-8200, ensembleartsphilly.org

  • ‘Lord of the Rings’ lands at the Philadelphia Orchestra, but the magic remained in the music

    It was the kind of night at the orchestra when any good hobbit could show up in a Bilbo Baggins waistcoat and feel right at home. Previously-human ushers had suddenly sprung elven ears. And the action on stage involved a twisty, unlikely tale of a magical gold ring whose purpose seemed to be to exploit the flaws and weaknesses of those who encounter it.

    The Philadelphia Orchestra’s presentation of The Lord of the Rings: The Fellowship of the Ring Friday night in Marian Anderson Hall was one of those cross-cultural experiences that ricocheted with surprising power. Two subcultures, each with its own specialized language — classical music, and the fandom around J. R. R Tolkien’s world of wizards, dwarfs and the dark forces — intensified the other.

    The Philadelphia Orchestra, Singing City and Philadelphia Boys Choir on stage in Marian Anderson Hall for ‘Lord of the Rings: The Fellowship of the Ring.’

    For anyone keeping score in the ongoing battle for younger audiences in classical music, Friday was a night when it seemed everyone in the hall was 31 years old and deeply engaged. Never at an orchestra performance have I heard the audience break in so many times with applause and hoots of approval.

    Of this happy synergy, the orchestra sold out all three performances, with tickets topping out at more than $250 a pop.

    Lead usher Ryan Viz, in elven ears, in the Kimmel Center lobby Friday night.

    Not all of the orchestra’s live-to-screen presentations have justified themselves musically, but here, Howard Shore’s score was a canvas both vast (about three hours of music) and colorful.

    If there’s a single label for Shore’s musical language, it’s Celtic Craggy — with notable excursions into the bellicose, sentimental, and moods more subtle. The great value of hearing a great orchestra live in dialogue with the screen is in the emotional epiphanies, moments where the music tells you something the dialogue and action alone can’t.

    The sound engineering on this night favored the music over the dialogue, and smartly so.

    Ian McKellen as Gandalf looms over members of Singing City Friday night in Marian Anderson Hall during a Philadelphia Orchestra live-to-screen presentation of ‘Lord of the Rings: The Fellowship of the Ring.’

    The other beautiful dynamic at play: You didn’t have to walk into the hall with any prior knowledge of classical music or Middle-earth nomenclature to feel the experience. This level of communication is simply embedded deep in being human.

    The definition of human becomes hazy in the 2001 installment of Peter Jackson’s film trilogy. But time and time again, the musical score honed in on the universal goodness and country-folk sincerity embodied in instruments. Two different soprano tin whistles (one in C, the other in D), whose very pitch and story-telling inflection were skillfully stretched by orchestra flutist Erica Peel. Hornist Jennifer Montone perfectly conveyed what it feels like to be a lonely leader in the Council of Elrond scene.

    The percussion section was a city in itself, conjuring folk sounds on the bodhrán drum, and the anvils of war (struck by musicians on, essentially, flat sheets of steel).

    Brian Johnson sits rapt with attention at the Philadelphia Orchestra’s live-to-screen presentation of ‘Lord of the Rings: The Fellowship of the Ring’ Friday night.

    Anvils? The quest for a magical ring? Dwarfs, warriors and flawed characters? Tolkien drew on some of the same sources as Wagner did in his Ring Cycle, and while Shore’s score might have a Wagnerian touch here or there, the larger influence was Carl Orff, whose Carmina Burana became the musical DNA of video games and car commercials.

    Conductor Ludwig Wicki leading the Philadelphia Orchestra and other musical forces in Marian Anderson Hall.

    Colossal forces brought both precision and brutality, particularly in the repeating combination of driving percussion, screaming brass and blocs of choral sound amassed for battle. With Ludwig Wicki conducting, the Singing City Choir and Philadelphia Boys Choir — both quite strong — provided chaos and balm. Vocalist Kaitlyn Lusk and chorus were the gentle healing we needed to hear after Gandalf’s death.

    The good thing was, when you tired of watching yet another wave of fiendish Orcs getting clobbered, you could always turn your eyes to the stage, decode the instrumentation and imagine for yourself an entirely different narrative. This is the enduring promise of orchestral sound on any night at the orchestra.

    No additional magic needed.