Beauty and apocalypse haunt this mesmerizing film about architecture
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We Finally Got a Madonna Biopic Update and...It's Complicated
For anyone still wondering whatever happened to that long-rumored Madonna biopic—yes, it's still happening. Sort of. Maybe. According to Julia Garner, the project is alive… it's just taking its sweet time. During a recent appearance on the SmartLess podcast with Jason Bateman, Will Arnett and Sean Hayes, Garner confirmed that the highly anticipated film is 'supposed to still happen.' Garner has been attached to the Madonna role since 2022, hot off her run as Anna Delvey in Netflix's Inventing Anna. At the time, multiple outlets reported she was the pop icon's top pick after a competitive audition process that involved intense dance training—and performing in front of Madonna herself. 'It just came about… I knew they were making a movie about her and I went out to audition,' Garner explained of how she nabbed the role. 'I kind of just wanted to see if I could do it.' Her approach? Channel Madonna's own energy. 'I asked myself what Madonna would do—which is like, convince you she deserves to be in this room,' she said. 'And I owned it.' The biopic faced setbacks along the way. In early 2023, Variety reported that Universal had pulled back on development. Still, Madonna and Garner remained in touch. They were photographed together at Steven Klein's birthday party in May 2023, and in December of that year, Garner even joined Madonna onstage during a stop on her Brooklyn tour. Kevin Mazur/WireImage for Live Natio By July 2024, Madonna had shared that work on the script was back on, teasing a working title: Who's That Girl—a clear nod to her 1987 film and hit single of the same name. Then, in May 2025, Deadline reported that the project may have taken a new form entirely: a limited series at Netflix, now with Deadpool & Wolverine director Shawn Levy attached. So, yes, the Madonna story is still coming. But whether it's a movie, a series or something else entirely… we'll just have to wait and see. Stay tuned. Want all the latest entertainment news sent right to your inbox? Click here. Madonna Just Posted a Stunning LBD Pic, But Everyone's Talking About This One Detail Solve the daily Crossword
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Complete Unseen: New Doc on History of Newport Folk Festival Announced
For anyone who saw A Complete Unknown and wondered how close it resembled the actual Newport Folk Festival where Bob Dylan amped up his music, a new documentary will help answer that question. Among the many films just announced as part of the annual Venice Film Festival in September is Newport & the Great Folk Dream, which documents the legendary (and ongoing) festival in the pivotal folk-to-rock years between 1963 and 1966. The doc includes footage of Bob Dylan, Joan Baez, and the Paul Butterfield Blues Band — some of it from the same 1965 festival where part of A Complete Unknown was set — alongside previously unseen live clips of blues, gospel and folk legends, including Dave Van Ronk, Pete Seeger, John Lee Hooker, Judy Collins, the Staple Singers, Bill Monroe, and many others. More from Rolling Stone Margo Price Pays Homage to Bob Dylan in 'Don't Wake Me Up' Video Willie Nelson's Outlaw Music Festival Tour Hits Pause After Extreme Weather Damages Gear How Many Bob Dylan, Leonard Cohen Lyrics Can You Identify in This New York Writer's New Song? According to director (and writer and historian) Robert Gordon, Newport & the Great Folk Dream had already been completed before the release of A Complete Unknown, but he waited to gauge the reaction to that film first. 'I have to praise Timothée Chalamet and [director] James Mangold for expanding our audience tremendously,' Gordon tells Rolling Stone with a chuckle. 'A year ago, my friends' kids weren't really interested in Newport, and now they know all about it.' All the footage in Newport & the Great Folk Dream comes from the archives of the late documentarian Murray Lerner, who shot Newport for years. (His footage of the 1970 Isle of Wight festival has resulted in separate docs on performances there by Leonard Cohen, the Who, Jimi Hendrix, and others.) In 1967, Lerner released Festival!, a compilation of his footage from Newport between 1963 and 1966. According to Newport producer Joe Lauro, Lerner had planned to make an expanded Newport movie himself but died in 2017, by which time he'd sold his archive to Lauro's Historic Films company. Newport & the Great Folk Dream repeats only a few clips from Festival! Most of it consists of newly unearthed and restored footage, including Hooker romping through 'Boom Boom'; Joan Baez and Mary Travers of Peter, Paul and Mary singing the traditional 'Lonesome Valley'; Van Ronk doing the Reverend Gary Davis' 'Cocaine' (familiar to those who know Jackson Browne's Running on Empty); and the Staple Singers rocking out gospel with 'I Wish I Had Answered.' 'Festival! was about 95 minutes, and Murray shot about 100 hours, so an extraordinary amount of musicians and music were filmed,' says Lauro. 'It's the greatest archive of Americana music that's existed.' Although it wasn't entirely set at Newport, A Complete Unknown recreated some of its major moments during the years Dylan first played there. Newport & the Great Folk Dream allows us to see real-life- counterpart clips of Dylan and his band warming up for his going-electric moment, a different cut of his 'Maggie's Farm' that night, and performances by a gaunt-indeed Johnny Cash ('Big River') and Baez (Dylan's 'Don't Think Twice, It's All Right') from the same festivals in A Complete Unknown. One of the Mangold film's antagonists, folklorist and Newport overseer Alan Lomax, is seen and heard debating the idea of purity vs. commercialism in folk music. 'A Complete Unknown was great, but it was a Hollywood movie,' says Lauro. 'They had the fight with Lomax and [Dylan and Butterfield manager] Albert Grossman happening during 'Maggie's Farm.' It happened during Butterfield's set, so we set the story straight.' To further tie in A Complete Unknown with his doc, Gordon moved a clip of Cash to the beginning of the film. 'It worked out great, and it's a way to connect the two films,' he says. 'There's the thrill of seeing the Hollywood film come to life in a different way. There are a lot of the same tensions.' The Newport Folk Festival first launched in 1959 and soon became a destination for anyone wanting a full immersion into folk, country, bluegrass, gospel, and other vernacular genres, although rock and singer-songwriter music also crept in. This year's gathering — taking place this weekend in Newport, Rhode Island as always — was curated by Nathaniel Rateliff and is a vivid demonstration of how much the festival's scope has expanded. Its three days are scheduled to include sets by Luke Combs, MJ Lenderman, Jack Antonoff & Bleachers, Jeff Tweedy, Lukas Nelson, the Yeah Yeah Yeahs, Margo Price, Bonny Light Horseman, and both Geese and Goose (the latter joined by Kenny Loggins, of all people). Future release plans for Newport & the Great Folk Dream have not yet been finalized, but Gordon feels it will have a place in today's fractured world. 'We talk about diverse groups of people, but what we see here is an extremely concerted effort to represent songs from all kinds of lifestyles, work and play,' he says. 'I know this sounds corny, but the story is about harmony.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
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Is Bob Dylan's ‘Subterranean Homesick Blues' Video the Most Copied of All Time?
Rolling Stone named Beyoncé's 'Formation' the greatest music video of all time in 2021. But when it comes to the most influential, first place can arguably go to a clip that isn't even a proper music video — and was shot in black & white 60 years ago. Last week, Margo Price released a jaunty new single, 'Don't Wake Me Up,' accompanied by a video in which she holds up white cards with snippets of lyrics — among them, 'cow pasture cemetery,' 'honky tonk leaky tent,' 'dive bar,' 'madness' — as the song plays. It didn't take a classic-rock historian to see the video as a nod to Bob Dylan's 'Subterranean Homesick Blues,' the canonical footage of the young Bob of 1965 in a London alleyway holding, and discarding, cards with bits of the tune's lyrics; in the background is poet Allen Ginsberg talking to off-screen Dylan pal Bobby Neuwirth. More from Rolling Stone Complete Unseen: New Doc on History of Newport Folk Festival Announced Margo Price Pays Homage to Bob Dylan in 'Don't Wake Me Up' Video Willie Nelson's Outlaw Music Festival Tour Hits Pause After Extreme Weather Damages Gear Not an actual music video, the scene was the opener of documentarian D.A. Pennebaker's penetrating 1967 film Dont Look Back, shot during Dylan's U.K. tour of two years before. As Pennebaker later said, the concept came from Dylan himself: 'He said, 'I've got this idea for a film where I take a whole lot of sheets of paper and write lyrics for a song, and hold them up as the lyrics come up in the song and then I just toss them away.' And I said, 'That's a fantastic idea.' So we brought along about 50 shirt cardboards.' The footage was shot in the alley behind the Savoy Hotel in London, and according to Pennebaker (who died in 2019), some of the handwritten lyrics were supplied by Joan Baez and Donovan, who were both in Dylan's vicinity (and crosshairs) at the time. Once the MTV era began, the sequence, relatively primitive as it was, was seen as a music video prototype and began to inspire knockoffs and tributes. 'When Margo approached me with the concept, I did a deep dive on groups who'd done similar projects with poster cards or cue cards and was shocked to see how many there were,' says Hannah Gray Hall, who directed Price's 'Don't Wake Me Up.' 'It's like keeping a tradition going.' The first may have been 'Misfit,' the 1986 video by the stylish British pop band Curiosity Killed the Cat, which featured Andy Warhol dropping white cards during a brief cameo. The following year, INXS' 'Mediate' elevated the Dylan homage to another level. Starting with singer Michael Hutchence, all the band members held up and subsequently dropped lyric cards in sequence. 'You had to get the timing right,' INXS' Andrew Farriss tells Rolling Stone of filming outside of Sydney in the band's home country of Australia. 'You had to make sure the cards landed.' In another salute to the Dylan video, some of the words on the cards were intentionally misspelled. In a sign that not everything was instantly available on YouTube in 1987 (of course, YouTube was yet to exist), Farriss says he wasn't aware of the source material at the time. 'I'm not sure if it was the director's idea or Michael's, but I have to admit that I didn't even know Bob had a video like that,' he says. 'Maybe some of the other guys did. All I know is that it sounded like a good idea. I saw [the original] later and went, 'Oh, wow.'' The recreation was so obvious that one critic at the time noted that 'both the filmmaker [Pennebaker] and his subject [Dylan] ought to round up the lawyers,' but that didn't prevent the song from winning Video of the Year at the 1988 MTV Music Video Awards, in conjunction with the band's companion clip for 'Need You Tonight.' Since then, a cottage industry of 'Subterranean Homesick Blues' videos has risen up, each honoring the original in different ways. As with Curiosity Killed the Cat, some approached their remakes as parodies. 'Weird Al' Yankovic's 'Bob,' in 2003, found everyone's favorite satirical hero with a Dylan wig, vest, and alleyway of his own, a pretend Ginsberg behind him, as Yankovic tweaked Dylan's surrealistic imagery ('Rise to vote, sir/Do geese see God/Do nine men interpret/Nine men, I nod'). Even though 'Subterranean Homesick Blues' isn't one of Dylan's topical songs, others have used the setup for protest shots of their own. Les Claypool and the Frog Brigade's 'Buzzards of Green Hill' has typically carnivalesque Claypool lyrics, which could be about the perils of drunken driving, hence Claypool's use of cue cards in the song's video. Earlier this year, Kim Gordon redid the packing-list lyrics of 'Bye Bye' into a minimalist anti-Trump protest song, 'Bye Bye 25!,' complete with a video with Gordon holding cards with the new lyrics ('immigrant,' 'hate,' 'injustice'). Artist Ed Ruscha has a Sonic Youth connection of his own (the band named its song 'Brave Men Run' after one of his paintings) and a Dylan one too: In 2012, his offered up a lyric-card homage, honoring friend and conceptual artist Lawrence Weiner with snippets of Weiner's own words. Wir sind Helden's 2005 video 'Nur ein Wort' ('Just One Word') featured the now-defunct German pop band in their own alley, dancing and cavorting as they flashed their lyric sheets. (Since the song is about encouraging a private person to express themselves — 'your silence is your tent' — the use of words in the video made conceptual sense.) And before he was slaying zombies, Andrew Lincoln was wooing Keira Knightley in Love Actually with, yep, words on white cards. In the case of Price's video, director Hall says Price's team approached her about doing something similar to Dylan, 'but they said to make it my own and do a contemporary take on it.' Using 77 different poster-board cards for her shoot, Hall thinks those lyric snippets also connect to the song's theme and to Dylan's own legacy: 'Margo and I didn't talk about it in depth, but to me, it speaks very heavily to our current social climate and people being isolated in their own ways and not looking into other people's opinions. It's more social commentary than protest song.' For Farriss, one thing unites nearly 40 years of 'Subterranean Homesick Blues' homages. 'It's simple,' he says. 'Just because something's complicated doesn't mean it's necessarily good.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
