ESPN’s Doris Burke revealed on Friday that she tested positive for COVID-19, the disease caused by coronavirus that has spread in a global pandemic that’s shut down much of the world. Burke, a legendary basketball broadcaster beloved in the NBA, appeared on ESPN colleague Adrian Wojnarowski’s podcast to share the news.
Doris Burke joins The Woj Pod to reveal she’s tested positive for the COVID-19 virus. She details her symptoms, her hospital testing experience, recovery and goal of sharing importance of social distancing and other measures underway to combat pandemic. https://t.co/4RAbMO5LPL
It’s initially unclear how Burke contracted the virus, which is spread quickly and is easily transmitted from person to person. But Burke was working NBA games in the lead-up to the season’s suspension when it was revealed that Utah Jazz center Rudy Gobert had tested positive for the virus. She reflected on when she first started feeling symptoms, which apparently appeared in mid-March.
“What is interesting for me and what I would hope that people would know, because like most Americans, I think I had been tuning in and reading and trying to understand what symptoms were, etcetera etcetera,” Burke said on the podcast. “But basically, on March 11, I remember sitting at lunch with my broadcast crew for that evening, which is standard for us to have a lunch production meeting, and I looked at my colleagues, Ryan Ruocco and Ian Gruca, my producer, and I said, ‘Man, I am so tired right now and my head is pounding.’ And looking back, those were my symptoms.”
Burke said she started to have symptoms the morning that Gobert had his positive test, and things got worse from there. By early next week, she had no energy and was struggling to even get out of bed.
“I kid you not, I could not get out of bed for five minutes without needing to go back to bed and laying down,” she said. “It was that Tuesday (March 17) I was thinking, I don’t have any of the normal symptoms, but it seems to me I should probably get tested.”
Burke said the test results took eight days, and she’s now symptom-free, which is both alarming and a relief, in that order. As the latest person in the NBA world to reveal her positive test, it shows just how far this has spread and how quickly the virus can impact a wide swath of the population if preventative social distancing is not followed and life resumes as normal. In the days and weeks that followed Gobert’s initial test, several NBA players had also tested positive for COVID-19, including Gobert’s Jazz teammate Donovan Mitchell and Kevin Durant, who wasn’t playing for the Brooklyn Nets this season but apparently contracted it as it spread through the NBA. Boston’s Marcus Smart also tested positive while players from the Los Angeles Lakers were revealed to have positive tests as well.
The ramifications of coronavirus in the NBA also impacted scouts and has seen an impact on the National Hockey League, where players on the Ottawa Senators tested positive following games played in the same venues as infected NBA players.
There are a lot of good TV shows on Amazon Prime, but increasingly the streaming service’s original programming has been as good as much of its licensed programming as it expands its library of original content. It doesn’t have quite the breadth of Netflix, but there’s hardly a miss among its original series. If you’re trying to figure out exactly which original show to watch next on Amazon, here’s a great place to start with a look at the 15 best Amazon Prime original series right now.
Amy Sherman-Palladino’s follow-up to Gilmore Girls and Bunheads may be the most impactful Amazon series since Transparent, and it’s got the Emmys to prove it. It’s a brilliant, quick-witted, crowd-pleaser, an exuberant fast-talking comedy with some heft. Set in 1950s New York City, Rachel Brosnahan (House of Cards, Manhattan) plays Miriam ‘Midge’ Maisel, the perfect, upper Westside wife who — after her husband leaves her — goes on a bender and finds herself on stage delivering a hilarious, profanity-fueled set in a rundown dump of a club. The club’s booker, Susie Meyerson (Alex Borstein), takes an immediate interest in her, so while her home life is falling apart, Miriam finds herself trying to build a career as a stand-up comic in an era when females weren’t exactly welcome on that scene. It’s a tremendous series that mixes comedy, feminism, and a little bit of stand-up history into a delightful concoction of laughs, heart and an incredible lead performance from Brosnahan, who will ultimately be remembered for this role the same way Lauren Graham will always be remembered for Lorelai Gilmore.
Patriot is a difficult show to describe because it’s so much more than the sum of its parts. It’s about a man named John Tavner (Michael Dorman), an N.O.C. (Non-official cover) for the CIA. His cover is as an engineer for a pipe company, a job for which he has little education or experience, and yet, it’s also a job he must maintain in order to complete his mission: To get a bag of money from point A to point B, which just happens to be what his job in pipe entails: To build a pipe to get a thing from Point A to Point B. But if it were that easy, neither an engineer (in the piping context) or a CIA agent (in the context of the bag of money) would be required.
Patriot is about the complications that arise along the way. There are mishaps; a murder investigation; and human nature and Tavner’s relationships with his brother, with co-workers, and with his father get in the way. After every episode, the intensity of this mission increases. The burden gets heavier. By the end, viewers will be left desperate to find a safety valve to unleash some pressure because Patriot does a number on its audience. It’s a pitch-black comedy, and it’s not for everyone. Season 2 is just as strange and silly as ever, but unfortunately, the show has bit the dust.
Not exactly an Amazon Original, Fleabag was co-produced by Amazon and England’s BBC Three. Set in London, it stars the magnificent Phoebe Waller-Bridge (who also created the show) as “a young woman attempting to navigate modern life in London.” That description hardly does the series justice, however. It’s a hysterical, dirty, sexually devious and surprisingly thoughtful meditation on grief and loneliness that goes by so quickly (there are only six half-hour episodes in each season) that viewers will wish they savored it more before it ends.
Fleabag is a quick series to binge, but it packs an immense amount of comedy and ache into its short runtime, probing beneath the dating life of a sexual adventuresome twenty-something only to uncover bleakness and tragedy. There’s a gut punch around every corner, but Fleabag always manages to lift itself out of its depths to make us laugh again. It’s truly one of the most distinctive, original comedies of the last several years — think Tig Notaro crossed with Broad City — and if we’re lucky, Waller-Bridge will become one of the leading creative voices of her generation.
David Tennant and Michael Sheen star in this hellishly fun adaptation of Neil Gaiman’s beloved work of fantasy. Tennant plays Crowley, a demon who’s spent the past 6,000 years living life as a kind of rockstar on Earth. Sheen plays his angelic counterpart, Aziraphale, a bumbling seraph who also calls Earth home and as a reluctant friendship with his immortal enemy. The two must band together to prevent the Anti-Christ – a kid in Oxford shire – from rising to power, destroying the world, and, most importantly, Crowley’s best of Queen mixtape.
Sneaky Pete comes from creators David Shore (House) and Bryan Cranston (Breaking Bad), who also stars as the series’ bad guy. However, it is the influence of showrunner Graham Yost (Justified) that is most felt: It has the same crackling energy, wit, and fast-paced storylines, combining a series-long arc with a few stand-alone episodes.
Cranston plays Vick, a bad guy of indeterminate nature. In its first season, recently released convict Marius (Giovani Ribisi) is in debt to Vick for $100,000, so he hides out in a small Connecticut town by posing as his prison cellmate, Pete (Ethan Embry). Armed with three years of prison stories from Pete, Marius — a career con man — has little trouble fitting into Pete’s family, who have not seen the real Pete since he was 11. Pete’s family enrolls Marius into the family bail bond business as an investigator, and Marius uses his in with Pete’s family to try and steal $100,000 from their safe and pay it back to Vick before Vick cuts off the fingers of Marius’ brother. It’s an out-there high-concept premise, but it plays well, primarily because of the terrific character work. It’s a show brimming with talent, starring everyone from Cranston to Peter Geraty to Margo Martindale (one of several former Justified cast members). It’s honest-to-God one of the most addictive, bingeable shows on either Netflix or Amazon, and once viewers hit the sixth episode, it’s virtually impossible to turn off.
Titus Welliver stars in this police procedural from Amazon about a renegade detective charged with solving some hauntingly grisly murders. Harry Bosch is a former military man with a healthy respect for the rules and an unquenchable thirst for the truth. Each season, he’s presented with a case that threatens his carefully molded view of the world, often leading him to uncover conspiracies, corrupt cops, and even his own mother’s murderer. The subject matter might be dark, but Welliver is clearly having fun playing the brash, give-no-f*cks badass, which is why you should give this crime series a watch.
Amazon has exclusive streaming rights to the British sitcom in America, which is essentially FX’s You’re the Worst if the couple at the center of it were 10 years older. Like the FX series, it’s another anti-romcom romcom, although this one involves pregnancy, children, and culture clash (he’s an American wanker, she’s an acerbic, potty-mouthed British school teacher).
Catastrophe is a romantic-comedy in reverse: There’s a pregnancy, then they get married, and then they get to know one another to see if they can fall in love. However, it’s the constant bickering and sexual disagreements between Rob (Rob Delaney) and Sharon (Sharon Horgan) that makes the series so exhilarating. A more apt name for the series would be Amazon’s other series, Transparent, because the relationship between Sharon and Rob — warts and all — is the most open and honest in television, and maybe the funniest. The only downside to Catastrophe is that there’s just not enough time to spend with these characters.
Loosely based on Phillip K. Dick’s 1962 novel of the same name (it also bears some resemblance to Philip Roth’s The Plot Against America), The Man in the High Castle is set in an alternative, dystopian world where Germany won World War II. Basically, the East Coast is occupied by the Germans, and the West Coast is occupied by the Japanese, and there’s a no-man’s land in between. Exec-produced by Ridley Scott and Frank Spotnitz (The X-Files), the series sees various characters working to form a resistance against their occupation by collecting “forbidden newsreels” that show the alternate history in which the Allies won the war in an effort to reveal a larger truth about how the world should be. A dark exploration of what it means to be American, TheMan in the High Castle is a well-acted, tense, and often violent dystopian thriller with plenty of twists and turns to keep viewers guessing.
Tig Notaro’s semi-autobiographical One Mississippi — about a Los Angeles DJ recovering from breast cancer who has to return home to Mississippi after her mother dies unexpectedly — is so quiet and restrained in its approach that viewers may not realize until they are halfway through the first season just how much of the comedy has seeped in.
One Mississippi can be best described as a guided tour through the grieving process, but Notaro has had enough separation from the events in her own life that inspired the story to infuse the show with plenty of levity. The death of her mother is heartbreaking — and the periodic flashback sequences give her mom dimension — but Notaro finds clever ways to find humor in the familiar. Notaro manages to find the humanity in every character via their flaws, and while the show occasionally makes light of death (and of cancer), Mississippi never treats its characters with anything less than reverence. Less a comedy than it is a healing drama, it’s essential viewing for anyone who has ever suffered a loss.
In Transparent, Jeffrey Tambor plays a character who decides, late in life, to transition into a woman, and we see how that decision affects her family in the most hilarious and poignant ways imaginable, including the pain of an older woman realizing she’s wasted so much of her life living as a man.
It’s a sprawling family drama that tells its story in a way that dignifies and humanizes even its most deeply flawed characters. No one is cast in a great light, but all of the characters transcend their foibles. It’s sad and tragic at times, and triumphant at others. It’s a light series with heavy themes, and truly one of the best currently running series on television. (It’s also racked up 28 Emmy nominations and eight wins, so far.) Transparent is a beautifully painful and painfully beautiful series, and essential for anyone interested in this moment in our cultural history.
Goliath is an old-school legal thriller from an old-school television writer, David E. Kelley (The Practice, Boston Legal), who’s still the reigning king of legal dramas. It’s a meat-and-potatoes show, one driven by an entertaining storyline and compelling, flawed characters led by Billy McBride (Billy Bob Thornton, who won a Golden Globe for the role).
McBride is an alcoholic has-been lawyer who, in typical John Grisham fashion, has a case against a big tech firm fall into his lap. On the other side of the case is McBride’s former firm, his ex-wife (Maria Bello) and his old legal partner turned nemesis (William Hurt).
There’s nothing new or novel about Goliath except the fact that it doesn’t try to be new and novel: It’s an old-fashioned, well-made, well-acted and gripping television show with bad guys, morally questionable good guys and a strong supporting cast that also includes Olivia Thirlby, Kevin Weisman (Alias), Dwight Yoakam, and Harold Perrineau. Of all the shows on this list aside from Sneaky Pete, it’s also the most bingeable.
Created by Joe Gangemi and longtime Soderbergh collaborator Gregory Jacobs, Red Oaks is set in the 1980s and stars Craig Roberts (Submarine) as David, a college-aged tennis instructor working at a country club. He’s an aimless guy, and Red Oaks is as much about David figuring out what to do with his life as anything. His father (Richard Kind) wants him to become an accountant. His girlfriend’s dad hangs big paychecks at a corporate firm over his head, but David just wants to be a filmmaker, and the series explores the challenges he confronts in an attempt to keep those around him — and himself — happy. His mother (Jennifer Grey), meanwhile, is supportive, but she also discovers that she loves women.
The smartly written sitcom is bubbling with quiet humor reminiscent of early David Gordon Green’s (All the Real Girls) sensibility (he exec produces, and directs three episodes), and may be best described as a cross between Summer School andThe Wonder Years.
In some ways, Red Oaks does for ’80s comedy what Netflix’s Stranger Things does for ’80s sci-fi, and the more assured second season only improves on the first, shattering the freshman’s season’s happy ending and resetting, as it earnestly explores themes about class. The series’ core theme remains throughout, however: Follow your dreams, don’t compromise, and don’t settle for the easy out. The best reason to watch, however, remains Richard Kind, who brings awkward humor, seriocomic heartbreak, and equal doses of cluelessness and poignancy to the series (and the Mad About You reunion between Kind and Reiser in the second-season finale is not to be missed).
Created by Roman Coppola, Jason Schwartzman, and Paul Weitz, Mozart in the Jungle stars Gael García Bernal as an orchestra conductor and Lola Kirke as an oboist/protégé. The cast is rounded out with beloved actors like Malcolm McDowell and Bernadette Peters, and familiar faces like Safron Burrows.
Mozart is sweet and low key, and to its credit, the stakes are never high — no one is beaten or murdered, but there are enough joyous, triumphant moments to remind us that television can still delight instead of punish. It is frothy and fun, and an absolute pleasure to watch.
Julia Roberts lands on TV for the first time with this slick thriller from Mr. Robot creator Sam Esmail. Like his previous show, Esmail keeps fans in the dark, so expect plenty of twists, turns, and cliffhangers with this limited series about a misguided counselor hoping to help veterans returning from war even as the corporation she works for has sinister plans. It’s one of the better binges on the streaming platform and how good is it to see Roberts on our screens again?
SNL alums Maya Rudolph and Fred Armisen star in this fantasy comedy about a married couple living an all-too-predictable life. Armisen plays his usual type, the kind of passive, bumbling husband-type he made popular on Portlandia, but this is Rudolph’s show and her chance to prove she’s suited to any and every comedy vehicle. There are twists galore in this thing, some that work, others that fall flat, but Rudolph’s subtle comedy and leading-lady turn keep you interested despite the cliffhangers.
MLB is taking perhaps the most conservative — some might say honest — planning route as it prepares for the 2020 season. An agreement with the players’ association set a standard for the league to follow in the aftermath of its decision to postpone the season, which would have begun this week. Those standards include waiting until fans are allowed back into stadiums, until travel restrictions have been lifted, and until it’s clear it won’t pose a health risk to teams and fans.
Jeff Passan of ESPN reported on the agreement on Friday:
These are the first set of guidelines reported publicly from any major American sports league, as the NBA rifles through several imaginative scenarios and the WNBA remains optimistic its smaller reach could help it return to the floor earlier. MLB suspended operations on March 12, two weeks prior to Opening Day, in response to the growing outbreak of the novel coronavirus in the United States.
As part of the agreement, MLB and its players reportedly will also leave open the possibility of neutral-site games and empty stadiums, should it become unfeasible to bring fans together as a live audience. The current recommendation from the U.S. Center for Disease Control is that all events of 10 or more people should be canceled or held virtually. There’s a long way to go before crowds can fill Yankee Stadium.
Still, MLB has been earnestly negotiating how the season might play out, and could benefit from the U.S. outbreak occurring before baseball’s regular season started. It gives them more time (and perhaps less urgency) to patiently plan.
While Taylor Swift has reigned over her corner of pop music for the last several years, she’s also quick to uphold other hard-working musicians around her. Just last year, Swift hailed Lana Del Rey as “the most influential artist in pop.” But Swift has now named a handful of her female predecessors who have made a huge impact on her early life and influenced her career through their music.
Speaking to her fans in an Instagram story, Swift explained that she curated a playlist of some of the female artists who have influenced her the most. The list includes the Dixie Chicks, Liz Phair, Vanessa Carlton, Alanis Morissette, and many more. The singer told fans the playlist was to give back to her “faraway mentors:”
“At the end of Women’s History Month, I wanted to make a playlist of songs and artists who made music that became the soundtrack to my life for a time, a phase, endless rides on the school bus, getting my license and driving around alone, screaming into a hairbrush and deciding ultimately that I wanted to make music too. I see these women as my faraway mentors, who taught me how music can really make someone’s life easier and more magical. These female professors guided me melodically, lyrically, spiritually and emotionally without even knowing it. And though I haven’t met most of these women, I will forever be grateful to them.”
Now, Netflix is tossing their hat in the ring with the release of The Main Event on April 10. The WWE Studios movie, originally announced last summer, dropped its trailer today. The plot of the family film is as follows:
When 11-year-old Leo Thompson (Seth Carr) discovers a magical wrestling mask that grants him super strength, he uses it to enter a WWE competition. With the support of his grandmother (Tichina Arnold), Leo will do whatever it takes to achieve his dream of becoming a WWE Superstar. Can one kid win it all, in the face of epic challengers in the ring? Directed by Jay Karas, THE MAIN EVENT co-stars Adam Pally, Ken Marino, and features WWE Superstars Kofi Kingston, The Miz and Sheamus.
In addition to the Superstars named above, other WWE talent featured in The Main Event includes Otis of Heavy Machinery, NXT North American Champion Keith Lee, WWE Hall Of Famer Beth Phoenix, Mia Yim, Corey Graves, Renee Young and 6’9″ NXT prospect Babatunde as the film’s big baddie, Samson. Check out the trailer:
So if you’re in danger of running out of wrestling-related content as your quarantine continues, fear not: In just a few weeks, you’ll get to watch a movie starring Pam from Martin, a dude who likes to dip his balls in things and a guy from Sonic The Hedgehog in which an 11-year-old emasculates grown men in a wrestling ring. That could never happen in real life, right?
The NBA is keeping an eye on the Chinese Basketball Association and its efforts to resume play following a hiatus that began all the way back on Jan. 24 as the coronavirus spread through China. Brian Windhorst of ESPN has been on top of the story, and reported on Friday that the CBA’s continued waiting game is forcing NBA officials to imagine centralized locations where games, housing, and training could take place away from any outbreak.
The expected resumption of the CBA season has been pushed back from the first week of April to as late as May after mandating a 14-day quarantine for foreign players returning to China to participate.
Part of the delay resulted from the postponement of the Tokyo Olympics, which allowed more CBA players to come back to China rather than move onto training with their national teams. On the other hand, the Chinese government is still worried about a resurgence from promoting large gatherings too soon or allowing free-flowing travel before the disease has been stamped out around the globe. So the CBA is doing what many sports leagues are considering: Playing without fans. According to Windhorst, NBA players and executives are realizing they may have to do the same.
The idea, per Windhorst, is that the league can descend upon one centralized location and have that be the center of the NBA universe. Via ESPN:
Various ideas have been floated by players and executives. One is to consider using a sprawling casino property in Las Vegas, where everything could be held under one roof. Others have suggested playing in the Bahamas, where a ballroom could be converted into a playing court specifically for broadcast. There has even been talk of taking over a college campus in the Midwest, where reported cases of COVID-19 are lower for the moment.
Whatever the location, it would be a place where teams could sleep, train, eat and, hopefully, be kept healthy enough to have confidence in resuming play — maybe not to finish out the season but to at least get restarted.
Any plan like this would require diligent COVID-19 testing for all involved at a time when the country — and world — faces a shortage of the materials involved to test wide swaths of the population. Finding a place that is secluded enough for now to have avoided a major outbreak does not ensure the area would remain safe for long enough to play out the remainder of the season.
The NBA is getting creative, but as of now, there aren’t a lot of answers.
Japanese wrestling promotion DDT has responded creatively to the obstacles COVID-19 has placed in the way of pro wrestling, holding unique no-audience events and putting up several shows for free on its streaming service. Their next move is to put on a show in a hospital.
Before several of its upcoming events were canceled or turned into no-fans events, DDT held one regular wrestling show with an audience, Judgement, on March 19, and there announced their next creative response to the coronavirus pandemic, a falls-count-anywhere match in a medical clinic.
Medical Clinic Rojo Pro Wrestling will take place in (or around? I’m not sure about the logistics of this) Kyou Clinic in Saitama, Japan, which specializes in medical treatment for the elderly, and will stream for free on DDT’s YouTube channel on March 30 starting at 3 PM Japan Standard Time, which is 2 AM Eastern on March 30, or 11 PM Pacific on March 29.
The show consists of one four-way, falls-out-anywhere tag team match, and since it’s supposed to “help promote coronavirus awareness to the elderly,” the match will include one team of elderly wrestlers. It’s Shinya Aoki and Makoto Oishi vs. Konosuke Takeshita and Shunma Katsumata vs. Chris Brookes and Mike Bailey vs. the 58-year-old comedy wrestler Gorgeous Matsuno and Gabai Jichan, a masked “100-year-old” wrester.
I have a lot of questions about how DDT is able to use a medical facility for a wrestling show during a pandemic (it looks like they set this up earlier this month) and how wise that is, but will I tune in later this week rooting for the team of old people? Probably!
Schools are closed, but G-Eazy‘s heart stays open. The Bay Area rapper has pledged a month of free meals for local kids for the next month to offset the loss of school lunches during the coronavirus crisis, according to TMZ.
G-Eazy has partnered his Endless Summer Fund with Larkin Street Youth Services to fund Mi Morena, a local food truck, to help reach at-risk kids in communities that can’t access Larkin’s brick-and-mortar sites. The food truck will provide lunch seven days a week for the duration of San Francisco’s shelter-in-place order.
Gerald is far from the only rapper providing help to the community in this time of crisis. Yesterday, Russ gave away $20,000 on Twitter, splitting it up among 20 fans, some of whom have family members who work in health care and are dealing with the stress of the situation up close. Meanwhile, Cardi B pledged to donate the proceeds from iMarkkeyz’s “Coronavirus,” which samples an Instagram post Cardi made about the crisis, to charity. Finally, Meek Mill is pushing his S.A.F.E.R. Plan to protect inmates from the virus, asking fans to call their local governors to implement the plan.
Follow more of Uproxx’s coronavirus coverage here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
As a kid, the sound of an ice cream truck sent you running down the street with the hope of getting your hands on a yummy treat.
Now that we’re adults, you can save yourself the embarrassment of sprinting down the road by creating your favorite ice cream delights in your very own kitchen. These super-simple recipes will make you feel like a kid again.
Sorry, ice cream man, but you’ve definitely been replaced.
For a long time, World War II historians came across the name Ravensbrück but didn’t know what went on in the German concentration camp.
All of the documents about Ravensbrück, the camp for women, were burned before the end of the war. After the war, the area was under the control of the Soviet Union. Now, after researchers have tracked down survivors and visited the site, we know that it was opened in 1939 and housed women deemed prostitutes, criminals, minorities, or who had opposed Hitler.
One survivor wrote in her account, “Among the prisoners were ‘the cream of Europe’s women.’”
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She continued, “They included General de Gaulle’s niece (pictured above), a former British women’s golf champion, and scores of Polish countesses.”
Ravensbrück, however, was mostly known for its medical experiments on the women, most of whom were Polish.
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One medical goal was to test sulphonamide drugs. This was done by deliberately wounding a prisoner and injecting viral bacteria into the wound. Death or permanent injury was usually the end result.
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Another goal was to see if muscles and bones could regenerate or be transplanted. Prisoners’ bones were broken, dissected, and grafted, leaving subjects in excruciating pain.
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One group of women had their wounds filled with wooden splinters, another group with glass shards, and the third group had both implanted.
Some women were experimented upon with no pain medication just to see how effective the tested drugs were.
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Nazi doctors shared the results of their experiments at a 1943 medical conference in Berlin. None of the civilian German doctors dared question the experiments on the basis of cruelty.
The women at Ravensbrück were strong, and some resisted even inside the concentration camp. The last experiments happened in 1943, and guards and wardens had to physically hold down the women who bravely refused.
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