NEW YORK (AP) — It's the final night of tour. SoFi Stadium, just outside Los Angeles, is packed. 80,000 fans stand before The Weeknd, an endless sea of blinding lights. The bestselling artist born Abel Tesfaye emerges onstage. He launches into the first song. Less than a minute goes by, and the unthinkable happens: His voice cracks. And then it is gone.
That September night in 2022 marked a turning point for Tesfaye. He mines the scene in “Hurry Up Tomorrow, ” where, ironically, it arrives too late. The tedium of an incoherent first act paints the charismatic performer — one of the last few decades' most popular — as an unempathetic protagonist in a nonlinear and nonsensical world.
But how much of The Weeknd is here, really? In his first leading role in a feature film, directed by Trey Edward Shults, Tesfaye plays a fictionalized version of himself, an insomniac musician (as made explicitly clear in the “Wake Me Up” leitmotif, where he sings, “Sun is never rising / I don’t know if it’s day or night”). He's marred by a recent breakup from an ex portrayed in a cruel voicemail message (“I used to think you were a good person,” she says) and a hedonistic lifestyle, instigated by his superficial friend-manager Lee, played Barry Keoghan.
Shortly after Tesfaye loses his voice, a psychosomatic ailment, he meets superfan Amina, portrayed by Jenna Ortega. She offers temporary comfort and, in return, is afforded no agency. She exists for him. Soon, the uninspired horrors begin, culminating in what recalls the torture scene in “Reservoir Dogs” with less violence. Instead, Amina — when she is not weeping; I urge all viewers to keep a “cry count” and consider what feminist blogs might have to say — lip-syncs some of The Weeknd's biggest hits back to him, explaining that they're all about “emptiness and heartbreak.” Woven throughout is some conversation about absent fathers and fear of abandonment, with unearned delivery and first-draft acuity — something gesturing at depth without piercing the surface.
According to press materials, Amina and Lee are not real people but representations of Tesfaye. She is meant to represent Tesfaye's disconnected, “deeper emotional self” — and Lee, his public persona. That is not made explicitly clear in the film, except in a very generous reading of the ending. Subtext only works when there is context to back it up, otherwise, you are left with “Hurry Up Tomorrow”: an exciting vanity project with surrealist imagination but stiff writing, no stakes, limited emotional weight and an unclear narrative.
That won't be an issue for superfans, of course — those intimately familiar with The Weeknd's music and career. This film appears to be for them and Tesfaye, a producer, alone; they have the framework in which to enjoy the runtime. Considering that fandom is the dominant form of popular culture, it's not a bad business decision.
And it's worked for him before. This is not Tesfaye’s first foray into acting. Aside from his cameo in “Uncut Gems,” he starred in HBO’s 2023 series “The Idol. ” He co-created the show with Sam Levinson, a show that similarly presented unearned provocation. At the time, “The Idol” received criticism for its sadomasochistic storytelling that emerged after a shift away from “the female perspective,” allegedly a request from Tesfaye. It was not a clever or subversive show, nor was it really even about anything, but it did inspire conversation. It's easy to see how “Hurry Up Tomorrow” may have similar effects.
In a moment where autobiographical films about musicians are playful and creative — Pharrell Williams' Lego partnership “Piece by Piece” comes to mind, as does Robbie Williams' “ Better Man ” — “Hurry Up Tomorrow” feels like a misstep for those outside The Weeknd's most devoted. Of course, the film does not identify as a biopic. But it could've benefited from less self-seriousness. And editing.
But what about the music? “Hurry Up Tomorrow” is connected to Tesfaye's latest album of the same name — and the final chapter in The Weeknd’s record-breaking trilogy that began with 2020’s “After Hours” and continued with 2022’s “Dawn FM.” The album, the quietest of the series, worked as an allegory on the trials of fame — a topic long covered by the most successful purveyors of pop. Retrospectively, it works best as a film's soundtrack than a stand-alone record, ambitious. Like the movie, it gestures at criticism of the celebrity-industrial complex without accomplishing it. It seems obvious, now, to learn that the movie predates the record.
The film's strength far and away is its score, composed by Tesfaye with Daniel Lopatin (better known as the experimental electronic musician Oneohtrix Point Never and for his “Good Time” and “Uncut Gems” scores). It builds from Tesfaye's discography and morphs into something physical and psychedelic — at its most elated, dread-filled and clubby. It is so affecting, it almost distracts from moments of dizzying cinematography, with the films' penchant for spinning frames, zooms into upside skylines, blurred vision and erratic lights.
Those tools feel better suited for a music video, the kind of sophisticated visual world Tesfaye has developed in his pop career. They elevate his euphoric, layered, evocative dance-pop, but they do not translate in this film.
“Hurry Up Tomorrow,” a Lionsgate release, is rated R by the Motion Picture Association for language throughout, drug use, some bloody violence and brief nudity. Running time: 105 minutes. One and a half stars out of four.
Jenna Ortega, from left, The Weeknd, and Barry Keoghan attend the premiere of "Hurry Up Tomorrow" at AMC Lincoln Square on Tuesday, May 13, 2025, in New York. (Photo by Evan Agostini/Invision/AP)
The Weeknd attends the premiere of "Hurry Up Tomorrow" at AMC Lincoln Square on Tuesday, May 13, 2025, in New York. (Photo by Evan Agostini/Invision/AP)
RHO, Italy (AP) — No ice is colder and harder than speedskating ice. The precision it takes has meant that Olympic speedskaters have never competed for gold on a temporary indoor rink – until the 2026 Milan Cortina Winter Games.
In the pursuit of maximum glide and minimum friction, Olympic officials brought on ice master Mark Messer, a veteran of six previous Olympic speedskating tracks and the ice technician in charge of the Olympic Oval in Calgary, Canada — one of the fastest tracks in the world with over 300 records.
Messer has been putting that experience to work one thin layer of ice at a time since the end of October at the new Speed Skating Stadium, built inside adjacent trade fair halls in the city of Rho just north of Milan.
“It’s one of the biggest challenges I’ve had in icemaking,’’ Messer said during an interview less than two weeks into the process.
If Goldilocks were a speedskater, hockey ice would be medium hard, for fast puck movement and sharp turns. Figure skating ice would be softer, allowing push off for jumps and so the ice doesn’t shatter on landing. Curling ice is the softest and warmest of all, for controlled sliding.
For speedskating ice to be just right, it must be hard, cold and clean. And very, very smooth.
“The blades are so sharp, that if there is some dirt, the blade will lose the edge,’’ Messer said, and the skater will lose speed.
Speedskater Enrico Fabris, who won two Olympic golds in Turin in 2006, has traded in his skates to be deputy sports manager at the speedskating venue in Rho. For him, perfect ice means the conditions are the same for all skaters — and then if it's fast ice, so much the better.
"It's more of a pleasure to skate on this ice,'' he said.
Messer’s first Olympics were in Calgary in 1988 — the first time speedskating was held indoors. “That gave us some advantages because we didn’t have to worry about the weather, wind blowing or rain,’’ he said. Now he is upping the challenge by becoming the first ice master to build a temporary rink for the Olympics.
Before Messer arrived in Italy, workers spent weeks setting up insulation to level the floor and then a network of pipes and rubber tubes that carry glycol — an antifreeze — that is brought down to minus 7 or minus 8 degrees Celsius (17.6 to 19.4 degrees Fahrenheit) to make the ice.
Water is run through a purification system — but it can’t be too pure, or the ice that forms will be too brittle. Just the right amount of impurities “holds the ice together,’’ Messer said.
The first layers of water are applied slowly, with a spray nozzle; after the ice reaches a few centimeters it is painted white — a full day’s work — and the stripes are added to make lanes.
“The first one takes about 45 minutes. And then as soon as it freezes, we go back and do it again, and again and again. So we do it hundreds of times,’’ Messer said.
As the ice gets thicker, and is more stable, workers apply subsequent layers of water with hoses. Messer attaches his hose to hockey sticks for easier spreading.
What must absolutely be avoided is dirt, dust or frost — all of which can cause friction for the skaters, slowing them down. The goal is that when the skaters push “they can go as far as possible with the least amount of effort,’’ Messer said.
The Zamboni ice resurfacing machine plays a key role in keeping the track clean, cutting off a layer and spraying water to make a new surface.
One challenge is gauging how quickly the water from the resurfacing machine freezes in the temporary rink.
Another is getting the ice to the right thickness so that the Zamboni, weighing in at six tons, doesn’t shift the insulation, rubber tubing or ice itself.
“When you drive that out, if there’s anything moving it will move. We don’t want that,’’ Messer said.
The rink got its first big test on Nov. 29-30 during a Junior World Cup event. In a permanent rink, test events are usually held a year before the Olympics, leaving more time for adjustments. “We have a very small window to learn,’’ Messer acknowledged.
Dutch speedskater Kayo Vos, who won the men’s neo-senior 1,000 meters, said the ice was a little soft — but Messer didn’t seem too concerned.
“We went very modest to start, now we can start to change the temperatures and try to make it faster and still maintain it as a safe ice,’’ he said.
Fine-tuning the air temperature and humidity and ice temperature must be done methodically — taking into account that there will be 6,000 spectators in the venue for each event. The next real test will be on Jan. 31, when the Olympians take to the ice for their first training session.
“Eighty percent of the work is done but the hardest part is the last 20 percent, where we have to try to find the values and the way of running the equipment so all the skaters get the same conditions and all the skaters get the best conditions,’’ Messer said.
AP Winter Olympics: https://apnews.com/hub/milan-cortina-2026-winter-olympics
Serpentines are set on the ice of the stadium where speed skating discipline of the Milan Cortina 2026 Winter Olympics will take place, in Rho, outskirt of Milan, Tuesday, Nov. 11, 2025. (AP Photo/Luca Bruno)
Ice Master Mark Messer poses in the stadium where speed skating discipline of the Milan Cortina 2026 Winter Olympics will take place, in Rho, outskirt of Milan, Tuesday, Nov. 11, 2025. (AP Photo/Luca Bruno)
Workers clean the ice surface during a peed skating Junior World Cup and Olympic test event, in Rho, near Milan, Italy, Saturday, Nov. 29, 2025. (AP Photo/Luca Bruno)
Ice Master Mark Messer poses in the stadium where speed skating discipline of the Milan Cortina 2026 Winter Olympics will take place, in Rho, outskirt of Milan, Tuesday, Nov. 11, 2025. (AP Photo/Luca Bruno)
Ice Master Mark Messer poses in the stadium where speed skating discipline of the Milan Cortina 2026 Winter Olympics will take place, in Rho, outskirt of Milan, Tuesday, Nov. 11, 2025. (AP Photo/Luca Bruno)
