logo
Baby Cheetah Named Taylor Swift Meets Her Love Match in Another Orphaned Cub Named Travis Kelce

Baby Cheetah Named Taylor Swift Meets Her Love Match in Another Orphaned Cub Named Travis Kelce

Yahoo6 days ago

A cheetah cub named Taylor Swift has made a new friend — a cub named Travis Kelce
The two cubs met at the Cheetah Rescue and Conservation Centre in Somaliland
"Not only is [cub Taylor Swift] thriving, it looks like we have a little Love Story unfolding on the savannah," the center's staff said in a statementCheetah cub Taylor Swift was named for the music superstar after the baby animal was rescued from the illegal wildlife pet trade. Now, she's made a friend with a familiar name!
In April, the Cheetah Conservation Fund saved the orphaned cub and moved her to its Cheetah Rescue and Conservation Centre in Somaliland. Taylor Swift, who only weighed three pounds when she arrived, adapted well to the safe, new home.
Now, things have gotten even cozier at Taylor's new abode. The Cheetah Rescue and Conservation Centre recently welcomed four new cubs, all siblings. Fellow orphans from the illegal wildlife trade, the new cubs on the block were introduced to Taylor Swift shortly after they settled in.
Taylor made fast friends with the cubs, including forming an especially close bond with one of the males of the inseparable group.
Once the cheetah center noticed the bond between Taylor and the 5-month-old newcomer, it decided to name the male cheetah cub Travis Kelce.
According to the center, Travis Kelce, the cheetah, is "playful, confident, and has a winning streak," like his namesake.
"Not only is [cub Taylor Swift] thriving, it looks like we have a little Love Story unfolding on the savannah," the centre's staff said in a statement, adding, "The two have become nearly inseparable—grooming each other, napping side by side, and occasionally partaking in friendly roughhousing."
The male cub's "rookie stats," per the statement, include a sitting height of about 50 cm, a length of about 90 cm, and the special skills of "climbing trees, running fast [and] scarfing down snacks."
Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories.
The young male cheetah is also "fiercely protective of the things he likes most," including Taylor Swift, the cheetah cub.
Read the original article on People

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

That Terrifying Chant in '28 Years Later': Danny Boyle Explains How a 110-Year-Old Recording Came to Define the Film
That Terrifying Chant in '28 Years Later': Danny Boyle Explains How a 110-Year-Old Recording Came to Define the Film

Yahoo

time5 hours ago

  • Yahoo

That Terrifying Chant in '28 Years Later': Danny Boyle Explains How a 110-Year-Old Recording Came to Define the Film

When the first trailer arrived for '28 Years Later,' the third installment in Danny Boyle and Alex Garland's masterful '28 Days Later' series of horror films, it was scary, filled with gruesome images of zombies and a dystopian world. But what makes the trailer even more terrifying is an eerie, rhythmic chant by a high, nasal voice, moving with a military cadence, monotonal at first but growing increasingly louder and more agitated as it goes on, with the images and ominous musical backdrop growing in speed and intensity as it progresses. More from Variety Box Office: '28 Years Later' Debuts to $5.8 Million, 'Elio' Flies to $3 Million in Thursday Previews Danny Boyle Says He Could Not Make 'Slumdog Millionaire' Today Due to 'Cultural Appropriation' and 'That's How It Should Be': 'I'd Want a Young Indian Filmmaker to Shoot It' '28 Years Later' Duo Danny Boyle and Alex Garland Break Down That Cliffhanger, the Next Two Movies and the Studio's Reaction to Extreme Gore and Nudity Somehow, in that context, the chant, even though the words seem unrelated to the images, is absolutely horrifying, like a deranged rap song. Its use in the film makes an ominous scene even more ominous. The chant is actually 'Boots,' a poem by Rudyard Kipling, first published in 1903 and intended to convey the maddening monotony of soldiers marching; the direct inspiration was the hundreds of miles British soldiers were forced to march across southern Africa in the Second Boer War around the turn of the last century, according to the Kipling Society. The recording used in the film is nearly as old as the poem itself, voiced in 1915 by actor Taylor Holmes. It is a dramatic reading that starts off militaristic as the initial lines set the scene, but his voice is patently hysterical by the end, even as it follows the lock-step rhythm of the first five syllables: 'I—have—marched—six—weeks in hell and certifyIt—is—not—fire—devils, dark, or anything,But boots—boots—boots—boots—movin' up and down again,And there's no discharge in the war!Try—try—try—try—to think of something differentOh—my—God—keep—me from going lunatic!' Unusually for something featured so prominently in a trailer, the poem plays a very small, although foreboding, role in the film — buttressed with an eerie bass synthesizer, it soundtracks Spike and his father walking to the mainland, which is thick with infected zombies, and presumably conveys that they're marching to war. But out of everything that could have been used to deliver that message, why a 110-year-old recording of a poem that dates back to the peak of the British Empire? Boyle explained in an interview with Variety last week. 'We had all these archives that we wanted to use to suggest the culture that the island was teaching its children,' he says. 'It was very much a regressive thing — they were looking back to a time when England was great. 'It's very much linked to Shakespeare,' he continues. 'For those who know the 'Henry the Fifth' film, there's a very famous speech, the Saint Crispin's Day speech, which is about the noble heroic English beating the French with their bows and arrows. We were searching for a song, for a hymn — for a speech, actually. We did think about using the Crispin's Day speech at one point, but that felt too on the nose. 'And then we watched the trailer — Alex and I remember it vividly — the first trailer that Sony sent us, and there was this [recording] on it, and we were like, 'Fucking hell!' It was startling in its power. It was used very effectively. 'The trailer is a very good trailer, but there was something more than that about that [recording], about that tune, about that poem. And we tried it in our archive sequence, and it was like it was made for. it' A rep for Sony wasn't immediately able to pinpoint the person who chose the chant for that trailer, but it was so effective that Boyle was quick to incorporate it into the film. 'It's like a reverse osmosis,' he says. 'It came into the film and seemed to make sense of so much of what we've been trying to reach for.' He also notes that Kipling's words and Holmes' voice, echoing across the decades in a context neither ever could have imagined, somehow take on a new power in today's context. 'You have to hold your hand up and say, 'How is it that something that's recorded over 100 years ago has that same visceral power that it's always intended to have?' And I think it was always intended to have that power and it still maintains it. In a TikTok world, it still has that impact. It's amazing.' Additional reporting by Bill Earl. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar

At Cannes Lions, everyone is trying to sell your attention
At Cannes Lions, everyone is trying to sell your attention

Axios

time9 hours ago

  • Axios

At Cannes Lions, everyone is trying to sell your attention

CANNES, France — The doubling of global ad revenue to $1 trillion over the past decade has ushered in a new wave of companies eager to sell consumer attention. Why it matters: This week's Cannes Lions demonstrated that the annual festival for creativity and advertising has quickly become one of the most important global convening spaces not just for brands and agencies, but for celebrities, athletes, influencers and creatives looking to tap into that growth. State of play: Dozens of Hollywood stars and athletes made appearances, such as Jason and Travis Kelce, Ryan Reynolds, Reese Witherspoon, Dwyane Wade, Gabrielle Union, Ilona Maher, Sue Bird, Megan Rapinoe, Carmelo Anthony, Serena Williams and Jordan Chiles. So did influencers and podcasters popular among Gen Z, such as Jake Shane, Alix Earle, Alex Cooper and Anna Sitar. Big tech firms and agencies looking to curry business with major advertisers mostly covered travel and accommodations in exchange for stars showing up at their venues. Zoom in: Big Tech's dominance was on full display at Cannes Lions this year, where the only firms that could afford the expensive, high-profile beach spaces were companies like Meta, Spotify, Google/YouTube, Pinterest and Yahoo, alongside global ad agencies such as WPP, Omnicom and Stagwell. Traditional publishers, such as Warner Bros. Discovery, the New York Times, Hearst and Axios, were mostly relegated to smaller boats that dock in the nearby port, and cheaper hotel suites and restaurants across the street. Zoom out: The millions of dollars spent by companies to build out extravagant programming stages and host concerts and parties on the beach or nearby locations has made Cannes Lions an even bigger spectacle than the annual Cannes Film Festival, which takes place in the same location a few weeks before. "It's more expansive in terms of who it interacts with," United Talent Agency CEO David Kramer told Axios in a stage interview Monday. "I mean, Cannes Film Festival obviously is a very special, special place, but it's very specific to movies. That's it ... I do think Cannes Lions is a more expansive place. ... It's pretty different than it probably was a decade ago for sure." How we got here: The massive growth in advertising over the past 10 years can mostly be attributed to the launch of the smartphone, which allowed social media and search companies to start selling a lot more inventory across their mobile apps. Over the past few years, other types of companies with scaled audiences, such as grocers, retailers and travel firms, have similarly built out advertising businesses as a way to make more money and upsell their existing customers. That trend has transformed the ad industry, shifting sales power from traditional publishers to technology firms. Case in point: In 2011, the top five advertisers globally were mostly U.S. publishers: Google, Viacom and CBS, News Corp and Fox, Comcast, and Disney, per WPP Media. Today, the top five advertisers globally are all tech firms and two are Chinese: Google, Meta, ByteDance, Amazon and Alibaba. Between the lines: Brands that have traditionally attended the festival to explore places to spend their ad dollars are now becoming ad platforms themselves. United Airlines, for example, handed out drinks to customers boarding its flights from Newark to Nice last weekend, celebrating the one-year anniversary of its new ad network, Kinective Media, at Cannes. "You've got to have scale," United MileagePlus CEO Richard Nunn told Axios in an interview. "We flew 174 million people in 2024, so we've certainly got scale. The quality of audience is obviously there. By definition, they're not bots. They're real people." Nunn also noted that the plethora of screens that a customer interacts with throughout their flying journey — from the app on their mobile device to the screens in the lounge, at the gate and on the plane — provides the company with a "multi-channel" digital platform to reach people with marketing and advertising. By the numbers: Despite the fact that the Cannes Film Festival is so prominently referenced in pop culture, it has a similar number of delegates (15,000 in 2024) as Cannes Lions (13,000 in 2024). What to watch: While the festival this year felt livelier and more celebratory compared to the few years following the pandemic, uncertainty around how AI will shape the industry's future loomed large, especially for publishers already struggling to compete with Big Tech. "The future of the web is going to be more and more like AI, and that means that people are going to be reading the summaries of your content, not the original content," Cloudflare CEO Matthew Prince told Axios in an interview.

‘The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter
‘The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter

Yahoo

time10 hours ago

  • Yahoo

‘The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter

With its first season Apple TV+'s The Buccaneers made a name for itself with its focus on all women musicians featured in the show's soundtrack, with needle drops like Taylor Swift's 'Nothing New,' Japanese Breakfast's 'Be Sweet,' Brandi Carlile's 'Broken Horses' and Bikini Kill's 'Rebel Girl' featured in the first season, to name a few. Swift's 'Nothing New' was used in the scene where Nan St. George (Kristine Frøseth) and her friends made their society debut, similar to the procession of Netflix's Bridgerton in white dresses and feathers. Later on in the first season, songs like 'Kissing Lessons' by Lucy Dacus, 'Cedar' by Gracie Abrams,' 'Bite the Hand' by boygenius, 'Want Want' by Maggie Rogers' and another Taylor Swift anthem, 'Long Live' highlighted the high stakes of Nan's decisions. Season 2 continues in the vein of mostly women artsits featured on the soundtrack. It also features Chloé Caillet's remix of 'North American Scum' by the Emily Kokal featuring Miya Folick. Jennifer Smuckler and Christina Azarian serve as music leads on the show, and Stella Mozgawa worked as executive music producer, collaborating with artists for certain songs featured in later episodes. More from Deadline 'The Buccaneers' Season 2 Casts Greg Wise, Maria Almeida, Grace Ambrose & Jacob Ifan Meet Leighton Meester's New Character In 'The Buccaneers' Season 2 Trailer As Nan Tries To 'Let Go' Of Guy 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series Find the full list of songs in The Buccaneers, updated as each episode drops weekly, below: Episode 1 – 'The Duchess of Tintagel' 'Last Night's Mascara' by Griff 'Something to Burn' by Madi Diaz 'Looking at Me' by Sabrina Carpenter Best of Deadline 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series 'Stick' Release Guide: When Do New Episodes Come Out? 2025 TV Series Renewals: Photo Gallery

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store