Month: July 2020

Corporate begins its third season and final on Comedy Central this week, and if it has slid somewhat under the radar, that’s arguably because it doesn’t look like anything else on TV. Of the most popular comedies of the past 10-15 years, most carry the obvious whiff of their spiritual forebears.

30 Rock had the stars of SNL, Parks and Rec had The Office, The Office had the British Office, Workaholics had It’s Always Sunny, and so forth. Corporate has two relatively unknown comedians (Jake Weisman and Matt Ingbretson) starring alongside a cast of other fresh faces and a stunt-cast Lance Reddick (Cedric Daniels from The Wire) in a deliberately drab set for meticulously un-hijinxy storylines. It’s hard to imagine the pitch deck. That it doesn’t obviously scream “watch me” is both Corporate‘s artistic strength and what would seem to make it a tough sell.

“I believe the silly pitch was American Psycho meets Office Space,” Weisman (Corporate actor, writer, co-creator) told me when we spoke this week. “I think it was mostly crazy movies that we were trying to emulate. It’s hard to get people to tune back in and in for office comedies that will make you want to kill yourself. A movie, there’s a different audience for that and there’s a different way that that’s taken in. We were just trying to make mini movies.”

Weisman’s dark sensibility is a big part of why Corporate works. He has that combination of personal sweetness and general skepticism towards humanity as a whole that I tend to value in friends and acquaintances. I think I first became aware of Weisman seven or eight years ago, when a video of him wrestling a drunk heckler onstage at a comedy festival went viral after a bag of cocaine fell out of the heckler’s pocket. It takes a certain kind of detached amusement with the human condition to give an antagonist a platform like that, not to mention the self-assuredness that it will work out badly for him. That sensibility suffuses Corporate, getting deep into the weeds of our collective foibles for the purposes of bringing out our most absurd, be it corporate culture, fan culture, or general manic loneliness.

I spoke to Weisman this week (not for the first time) about the challenges of TV in the age of COVID, dedicating the first episode to Richard Bain, and having to navigate the corporate rules of putting out a show about corporate rules.

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So when did you guys finish shooting?

We finished shooting in, I think, mid-February so we got in just before COVID hit. Complete dumb luck. And then we edited for a few weeks together, but then COVID hit so we edited remotely and it took a really long time. Actually, we finished the lock cut a while ago, but then in order to mix it and do everything, honestly, we finished the last one just in the last week, so it’s been crazy.

How did the quarantine impact the editing process?

Well, basically how we normally edit is we go into a room and then we just stay there all day long and weekends too and just lose our minds, Jack Nicholson in The Shining style. Just trying every single cue, trying every single sound effect, trying every potential iteration of a scene, shaving seconds, shaving frames, trying to get music cues approved and all that. It’s intense, and we’re all there, and it’s pretty much the same. That all just takes longer because we’re so into the minutiae of it. Normally, you could test 20 different queues at once if you’re all there, because you can just play it for each other. But if you’re doing it remotely, then you have to just settle for one chance a day. It just takes longer because we’re not going to agree until it’s all there, but you don’t have as much freedom in the choices you’re making, and you have to be much more specific and clear in your notes because you’re not with the person.

The show is sort of based around the idea of having to go to a sh*tty office every day. Do you think that’s going to go away at all now? Everybody’s kind of switched to working from home so, I don’t know, is having to go to a sh*tty office… just going to come back again in another two months?

I don’t know if it’ll be another two months, but I tend to believe most humans in this country hate their jobs, so I can’t imagine they’re going to like their jobs just because they’re home. I think what’ll happen is they’ll hate their jobs and being at home. I think it’ll be a different thing, but the same amount of bullsh*t. It’s just going to be disseminated in a different way. I think they’ll just be less productive and maybe get fired or whatever.

Is this show coming along just at the right time then, like maybe people are getting nostalgic about having to go into their sh*tty office and now the show comes out and can remind them how bad that was?

Yes, I think absolutely. I think that they’re having a grass-is-greener situation. I don’t think our show is going to make them want to go back, but they might just want to look at some office sets. I don’t think our show has ever made anyone want to join a corporation, but they might be like, “Oh yeah, I remember a cubicle and how much I hated Tom. He chewed so loud.” But I don’t think that’s going to explode our ratings, I’ll be honest.

The first episode is about fan culture. What’s the connection between corporate culture and fan service in pop culture?

Well, I think we specifically look at it through a streaming lens, and how insane it is that all these big corporations like Amazon are making “art,” just so you’ll buy a toothbrush. I think that that’s incredibly funny. It’s obvious, but also so insane that I can’t believe it’s happening. I just think that the fact that corporations look at artistic endeavors as “content” is just hilarious. They’re always going to figure out a way to commodify artistic expression because they have the most money and they can, and artists need money. I just think that the connection between corporations and art is at this point pretty much a hundred percent in anything that you might be aware of. It’s all being funneled through a corporation of some sort, or a business that is heavily fiscally minded.

Well I guess the old-fogey way to look at that, or the long view, is like, “Oh, well, TV shows were always trying to sell toothbrushes.” What do you think is different now in that relationship?

Well, I don’t think that every company was trying to use art to sell things. They get you on Amazon Prime, and it’s just so they can sell things to you. It’s not for any other reason. There is nothing artistic about it. And they even want [artistic] awards for things just so you’ll subscribe to their Prime, just so you’ll buy stuff. I think it’s just been hyperfocused and sped up, and now all these huge companies are getting streaming sites competing with each other, just to get you to look at their website. To me, it’s just we’re in the future now and it’s absurd. I guess it’s not entirely different, but it is hyperintense and futuristic in a nightmarish way. To me, it makes sense to want to make money for your service, but it’s totally perverted to be desperate to get into the conversation about art when you care nothing about art.

Is that just an extension of us kind of looking at corporations now to do things that they’re not designed for? We’re looking at them to be our providers of art and then there’s this whole move now where abstract corporations are supposed to care about Black Lives Matter and social issues and things like that. Are these just all extensions of them having outsize influence on everyone’s lives?

Absolutely. They have so much money and money is everything. I think what’s so funny about the corporations supporting Black Lives Matter is that people who hate corporations are pressuring companies to support important causes even though they know it won’t be sincere. It’s such a weird thing, but then what other options do we have if these corporations have all the money? They have to be pressured into being better, even though we know they’re just going to find another way to be bad, but what are we supposed to do?

Right, you have to expect them to be better because that’s all we have.

It’s like at the very least, people are asking them to just smile. What else can we do? They can’t be like, “You know what, Nike? We don’t care if you support stuff, even though you’re the biggest brand ever.” But no, you have to be like, “You need to support us.” And then in 10 years, when we figure out the ways in which their support for it made them even more money, we have to protest against that. I don’t know another way around it.

So that first episode, the characters have a big debate about what’s a good finale for a series. Meanwhile this is your last season. Was any of that cathartic? Were you struggling to come up with a good finale for Corporate?

I don’t know struggle is the word. I mean, struggle’s almost like a negative connotation, where what I would say is that we’re beating our heads against the wall to make sure it was good. I don’t think that’s where the first episode emanates from, if that’s what you’re asking. We did think it was funny that it was our last season, and we briefly teased making that episode the final episode because they thought that was a good joke, but then we thought of a better idea, a more doomsday ending and went with that. But no, we just wanted to make sure that it wasn’t lame.

So speaking of the real-life parallels to your content, the first episode is dedicated to Richard Bain and then the second episode is kind of about suicide. I assume that you wrote that way before that happened.

Yeah. We wrote it, filmed it and edited it before it happened. It’s just yeah, devastating. Richard was an amazing guy. So yeah, it was very sad. I think that unfortunately, during COVID, the alienation that people are feeling, it’s not good for depressives, even if they like to stay home all the time. And it’s very sad and we weren’t doing the second episode just to do like a depression PSA, but I just kept noticing… In my own life, I’ve experienced extreme depression then went on medication. I know a lot of people who are depressed and who are conflicted about going on medication and it’s just a trend I’ve noticed and we thought it was good to talk about. If it ends up helping someone, wonderful. But the goal is to portray a human experience. If it helps someone, great. But in general, depression will be ever present until the world ends so you can always write about it.

And then there’s a title card at the beginning that says you wrote the episode, and then you went and talked to someone about suicide. Was that specifically about you?

Well, we legally had to put text there, via Comedy Central, but in general, I’ve been depressed and went to a psychiatrist and got on meds, I’ve had talk therapy for years so it was never an issue for me to talk about my feelings. It was an effort for me to do anything about it. So we had to put something about suicide there. I wasn’t like, “Please, let me put that.” I don’t want to tell anyone to do anything, but I would hope that people can break through the horrific, bad press that medication gets, because it can help them so much. They don’t understand the ways in which they’ve been indoctrinated against it and it can save their lives. I would love for someone to see themselves in that episode and then be like, “Why am I against medication?” I would love that because it really can help so many people.

On that note of Comedy Central wanting that, what even are the rules of basic cable anymore? I feel like a while back, basic cable meant you couldn’t swear and it had to conform to network rules almost. But now, you guys are saying the F word every now and then. What are the actual rules? Is there guidelines for you?

There’s so many. You’re not allowed to say f*ck and it has to bleeped if it’s on TV. I think you can say sh*t a certain amount of times depending on the network. I don’t think you’re allowed to smoke a cigarette. I think that they get weird sometimes if you say the word “cum,” which is tough for me, I gotta be honest. I felt that was anti-free speech for me specifically and potentially anti-Semitic. But anyway, there’s all these weird rules, but you go through so many rounds of S&P [standards and practices] notes so every single draft of the script goes to S&P and if they don’t like something, you either can fight it or you can just accept it. And so we fight a lot and sometimes we accept it and then you have to get certain art cleared and then you have to send all the cuts and they have to approve all the sounds. They have to approve all the words. And while they’re mostly good about it, sometimes you’re having extremely inane battles that feel insane and stereotypical…

What was your most inane battle that you had to have?

There’s a specific sound effect that sounds like a siren that is in the Viacom Music Library that we’ve used all three years and it’s very low and it’s truly just a sound effect, I think used for sci-fi mostly, and every year the S&P person said, “It sounds too much like a siren and someone could freak out or I don’t know, have a stroke or something like that and it’s not okay,” and we had to fight it for months and eventually they were like, “Fine.” And the thing is, no one’s going to hear it. It’s mixed down low, but you had to fight for months to get a stupid siren sound in there because it’s a sci-fi show and you’re just like, “This is my life?”

Was there anything that was too risque that you had to sanitize or tamp down some way?

I hate that I’m going to say this, but there’s so many things that I can’t even really remember, but I will say that we’re very lucky to be with Comedy Central because in general, they’re sort of moving towards a transgressive thing. That’s sort of why you would tune in a lot of the time is because they might break the rules. Like South Park is notorious for that, and South Park is hilarious and amazing, but part of why you’re tuning in is because, what are they going to do? Are they going to be bad? I think Comedy Central is in general, extremely supportive of that, especially in comparison to other places, so I don’t have any complaints. I never felt that restricted. And honestly, anytime you’re restricted by something insane, a lot of times, it just forces you to think of a work around that equally evokes what you want to say, but maybe is a little more suitable for an audience and that’s not the worst thing in the world to have to figure out most of the time.

One of the things I like about the show is that there aren’t too many shows that it reminds me of. But when you were conceiving this, what other shows did you invoke to give them an idea of what the show was going to be like?

We didn’t invoke any shows. We come from a place where we’re mostly just fans of movies and fans of satires and drama so I believe the silly pitch was American Psycho meets Office Space. Because we tried to film it in a way that looks like a movie and I think we pretty much accomplished that and so we wanted to treat it kind of like mini movies. And there are a lot of amazing TV shows, but there wasn’t really an office comedy that was as dark as we liked it. Because I think it’s hard to get people to tune back in and in for office comedies that will make you want to kill yourself. Whereas a movie, there’s a different audience for that and there’s a different way that that’s taken in. So I think it was mostly crazy movies that we were trying to emulate.

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Season Three of ‘Corporate’ premieres July 22nd on Comedy Central. Vince Mancini is on Twitter. You can access his archive of reviews here.

Despite the fact that we miss being able to travel the world during what is arguably the best season for travel, we don’t envy anyone who has to jump on a plane in the near future. Right now both domestic and international travel are an absolute headache, and if you’re from the United States, it’s just a lot easier to just not travel than attempt to navigate all of the different rules and safety measures for the countries that are still accepting American travelers. Of which there aren’t too many.

In 2019, the U.S. passport granted access to 116 countries without a visa. Today there are only 27, with the U.S. State Department under a global Level 4 Health Advisory — which strongly discourages international travel of any kind. Aside from that, most countries just straight up don’t want us around, considering the U.S. is the current epicenter of the coronavirus worldwide. Sure, lots of countries get significant economic support from our tourist dollars, but they’re not about to put their population’s health at risk in the name of making some money.

Even the countries that are currently accepting American travelers aren’t doing so blindly. Many of them have very specific rules and precautionary measures that you’ll want to be aware of if you do happen to be traveling, for whatever reason (remember that a panel of epidemiologists we assembled strongly discouraged this). For information, edification, and context, we’ve created a list of all the countries that are still accepting your passport and all the information you’ll need before boarding an international flight (for whatever reason) to visit them.

Albania

All routine American citizen services have been canceled and visa operations are currently under a temporary suspension, though Albania’s borders are open to European travelers. As of now, there are no quarantine requirements for entry into the country.

Antigua and Barbuda

Antigua and Barbuda’s border is now open to international travel though all passengers arriving by air must have a negative COVID-19 RT-PCR test result that has been taken within seven days of their flight.

If arriving by sea, all travelers will be subject to quarantine and are subject to assessment by the Port Health Authorities for signs and symptoms.

Passengers will likely be tested for COVID-19 on arrival or in their place of lodging and will have to limit their movement for 96 hours while their results are being processed.

Aruba

Prospective travelers from Alabama, Arizona, Arkansas, California, Colorado, Florida, Georgia, Idaho, Iowa, Kansas, Louisiana, Mississippi, Nevada, North Carolina, Ohio, Oklahoma, Oregon, South Carolina, South Dakota, Tennessee, Texas, Utah, Wisconsin, and Wyoming must first take a PCR Test and upload their results prior to departure.

All passengers must be tested 72 hours prior to their departure time and the results must be submitted 12-hours before the departure time for processing.

Visitors from other states are encouraged to take the COVID-19 PCR test but must do so at their own expense.

All Visitors are encouraged to bring masks and must wear them on the flight and while in the Queen Beatrix International Airport.

Barbados

Commercial flights to Barbados from the United States will resume via JetBlue beginning on August 15th, and American Airlines September 9th. As of July, beaches and parks in the country are no longer under limited hours and social gatherings of up to 500 people are permitted.

Travelers aren’t required to take COVID-19 PCR tests, but if they’re coming from a high-risk country (like the US) must take a test when landing at the airport and will need to remain in the airport until results are available.

Belarus

Travelers entering Belarus from the US are no longer required to self-quarantine upon arrival, though temperature screenings will be issued once arriving at the Minsk National Airport. Social distancing measures in the country are on a city-specific basis, with Minsk containing the majority of restrictions.

Belize

Belize will open to international travel beginning on August 15th but travelers will be subject to additional safety precautions. Travelers must register on the Belize health app, receive a negative COVID-19 PCR test result within 72 hours of travel, main social distance in the country, and wear face masks at the airport, where they will encounter additional screening processes.

Once in the country, visitors must regularly record their symptoms on the Belize Health app until the day of their departure.

Bermuda

All travelers must complete the Bermuda travel authorization process online within 48 hours of their departure. A $75 fee will cover the cost of COVID-19 testing in Bermuda, but travelers are encouraged to take a PCR Covid-19 test up to 72 hours before their departure.

Facemasks are required in all public spaces on the island, and travelers must report their temperatures twice per day.

Dominican Republic

All passengers flying into the Dominican Republic will have their temperatures checked as they disembark. Anyone registering a temperature above 100.6 degrees or any symptoms related to COVID-19 will be given a rapid COVID-19 test and necessary protocols for isolation and treatment will be administered.

Travelers will also have to fill out and submit a Traveler’s Health Affidavit. Social distancing measures are in place at most hotels, bars, restaurants, and transportation services in the Dominican Republic.

Ecuador

Travelers arriving in Ecuador must have a negative PCR COVID-19 test result issued within the last seven days prior to their arrival. All arriving passengers must quarantine for 14 days upon arrival, even with a negative test result, though those who have tested negative may quarantine at home.

Non-Ecuadorian citizens will be quarantined at government-designated temporary housing or hotels.

Egypt

All travelers landing in Egypt will be subject to a 14-day quarantine in all cases.

French Polynesia

Travelers must submit proof of a negative COVID-19 test taken within three days of their departure date. Arriving passengers must self-test for days after their arrival to Tahiti.

Ireland

The Republic of Ireland strongly advises against non-essential travel into Ireland, and all arriving visitors must self-isolate for 14 days upon arrival.

Jamaica

Jamaica has specific rules for travelers staying in hotels, visiting and staying with friends, and for people traveling for business, but all three parties must obtain a Travel Authorization 72 hours prior to departing for Jamaica.

Travelers arriving in Jamaica must have their temperature taken once they land and may be required to take a COVID-19 test, in which case they’d have to isolate at their hotel until test results become available.

Kosovo

The Pristina International Airport is open to all travelers, though the U.S. Embassy to Kosovo reports that U.S. citizens continue to be denied boarding if they cannot prove they are a resident or citizen of Kosovo. The embassy suggests you contact your airline before your trip.

Lebanon

Lebanon’s borders are open to international travel but visitors must show a negative test result for COVID-19 taken within four days of their arrival. Passengers staying for over seven days must submit another test, which will be given at the airport. Passengers must self-quarantine while waiting for results.

Maldives

As of July 15th, the Maldives is opened to tourists of all nationalities with no incoming travel restrictions, though some restrictive measures in place at hotels, resorts, and public spaces.

Mexico

Mexico’s border with the United States is still closed but travelers may fly into the country with little restrictions. Travelers may be subject to temperature checks, health screenings, and are advised to self-quarantine on a state by state basis.

North Macedonia

North Macedonia requires masks in all public spaces but has no other self-isolation or test requirements to enter the country.

U.S. citizens are advised to avoid travel to the country.

St. Lucia

Saint Lucia is currently in its phase 1 state of reopening, which requires the use of face masks on all island transportation and public areas. All arriving passengers must have a negative COVID-19 PCR test result taken within 7 days of their departure date.

St. Marteen

St. Marteen is scheduled to permit travel to U.S. passengers beginning on August 1st, though that decision is subject to change. Prior to travel passengers must receive a negative COVID-19 test 72 hours before their departure and will be subjected to additional health screenings upon arrival. Travelers must also complete a self-health declaration online.

St. Vincent and the Grenadines

All travelers arriving in St. Vincent and the Grenadines must take a COVID-19 PCR test if they don’t arrive with a negative COVID-19 antigen test or negative PCR test result. Travelers who arrive without the negative test results will be required to quarantine and monitor their temperature for 14 days, reporting any changes to local health authorities.

Those who arrive with positive test results will be isolated at a facility at the cost of the traveler.

Serbia

Serbia has no COVID-19 related restrictions for travelers, though U.S. travelers are advised to enroll in the country’s Smart Traveler Enrollment Program to receive alerts and updates related to COVID-19.

Tanzania

Tanzania has no additional requirements for international travelers, though travelers may be subjected to additional health screenings once landing in the country.

Turkey

Turkey currently has no travel restrictions for international travelers, though passengers will be tested for COVID-19 upon arrival. Travelers who test positive will be referred to a private hospital by the Ministry of Health — Border Unit if they aren’t Turkish citizens.

Turks and Caicos

Passengers must present a negative COVID-19 PCR test result within five days of travel. All travelers must have medical/travel insurance that covers medevac, complete a health screening, and agree to a privacy policy prior to arrival.

Ukraine

U.S. travelers are only allowed to enter Ukraine if they can prove they have medical insurance that can cover all possible expenses related to COVID-19 treatment. Ukraine also advises travelers to be prepared to self-quarantine at their own expense.

United Arab Emirates

Travelers flying into the United Arab Emirates must be tested for coronavirus upon their arrival and will be subjected to a 14-day quarantine at their own expense, regardless of the test result.

Long ago I vowed to never write a story about the Kardashians. I’m breaking that vow today.

Since Kanye West has launched an official campaign for the U.S. presidency—and since we now have undeniable evidence that literally anyone can win an election—what he does and says cannot be brushed off as frivolous celebrity fluff. And since things that Kanye has been publicly saying and posting have been especially off-the-rails lately, with many mental health professionals expressing concern about his untreated bipolar disorder, his wife’s statements about his mental health are also important to share.

So while some of us would prefer to ignore all things Kardashian, Kim Kardashian West’s statement released this morning in an Instagram story feels important to share.

Kim Kardashian West wrote:

“As many of you know, Kanye has bi-polar disorder. Anyone who has this or has a loved one in their life who does, knows how incredibly complicated and painful it is to understand. I’ve never spoken publicly about how this has affected us at home because I am very protective of our children and Kanye’s right to privacy when it comes to his health. But today, I feel like I should comment on it because of the stigma and misconceptions about mental health.

Those that understand mental illness or even compulsive behavior know that the family is powerless unless the member is a minor. People who are unaware or far removed from this experience can be judgmental and not understand that the individual themselves have to engage in the process of getting help no matter how hard family and friends try.

I understand Kanye is subject to criticism because he is a public figure and his actions at times can cause strong opinions and emotions. He is a brilliant but complicated person who on top of the pressures of being an artist and a black man, who experienced the painful loss of his mother, and has to deal with the pressure and isolation that is heightened by his bi-polar disorder. Those who are close with Kanye know his heart and understand his words sometimes do not align with his intentions.

Living with bi-polar disorder does not diminish or invalidate his dreams and his creative ideas, no matter how big or unobtainable they may feel to some. That is part of his genius and as we have all witnessed, many of his big dreams have come true.

We as a society talk about giving grace to the issue of mental health as a whole, however we should also give it to the individuals who are living with it in times when they need it the most. I kindly ask that the media and public give us the compassion and empathy that is needed so that we can get through this. Thank you for those who have expressed concern for Kanye’s well being and for your understanding.

With Love and Gratitude,

Kim Kardashian West”

Responses to West’s statement have been about as mixed as responses to Kanye himself. While it’s clear that the family is struggling to get Kanye on board with getting the help he needs, and it’s a reasonable ask for the media and the public to be compassionate, there are questions this entire situation raises that the citizenry of the United States needs to answer.

Yes, we absolutely need to drop the stigma associated with mental health issues and offer grade to individuals who are in crisis. I have known absolutely wonderful people with bipolar disorder and other mental illnesses, and I’ve been around when they’ve been off of medication and were going through manic episodes.

In daily life for the average person, mania poses some major challenges. But what do we do when an individual is in a position to do a great deal of harm if they aren’t managing their disorder? What if Kanye had run for president and won, then went off his medication, then had a manic episode and started issuing Executive Orders left and right? Or worse, got into a beef with another world leader?

We are already dealing with erratic and potentially dangerous rhetoric and behavior coming from the White House. Whether that’s due to a personality disorder or just personality is an ongoing debate, but at what point do we establish protocols for gauging the mental fitness of the president? Or do we just let the chips fall where they may, in this system where powerful people with gobs of money have the means of making it to the Oval Office no matter who they are, and hope for the best?

Compassion for Kanye and his friends and family who are trying to support him and get him help is absolutely called for. But so are questions about how much power we are willing to give a person who clearly isn’t managing a serious mental illness. While we shouldn’t condemn a person with bipolar disorder, we also can’t ignore the fact that it directly impacts decision-making—an extraordinarily important consideration for a person in charge of the world’s largest nuclear arsenal. Why so many seem willing to overlook that reality in the name of celebrity fandom or creative genius or billionaire businessman is quite baffling, and we really do need to have a conversation about what to do if or when someone with a documented and untreated mental health disorder actually ascends to the most powerful position on the planet.

Because at this point we know that literally anything is possible.

Gus Dapperton captivated audiences with his indie-pop edge on his 2019 debut album Where Polly Goes To Read. After touring the world behind the album, the NYC-based musician is translating all he’s learned on the road into his upcoming sophomore effort Orca. To continue ushering in his next era of music, Dapperton shared a live rendition of his second Orca single “Post Humorous.”

Dapperton reunited with his bandmates to gave the captivating performance from his apartment’s living room. Backed by his full band, Dapperton delivered the single’s poignant lyrics with catharsis: “But I can’t help thinkin’ ’bout the way we loved / I was cancer then, now I can hardly come to terms / Losing her,” he sings.

In a statement, Dapperton reflects on difficult experiences that would eventually serve as inspiration for Orca. “I was unbalanced,” he said. “My lifestyle and habits had gotten extreme. I wasn’t getting eight hours of sleep a night, I was drinking and doing drugs often. Wasn’t eating healthy. And on top of it, I was performing. A show can be the most inspirational, emotional high; but if something goes wrong it can be devastating.”

Dapperton continued that he hopes to present his emotions honestly through songwriting. “I’m a huge advocate for putting myself in vulnerable positions in my music,” he said but admits that confronting these feelings “was a chance to be open that I was afraid of. It was cathartic to put these emotions into music.”

Watch Dapperton perform ‘Post Humorous’ live from his apartment above.

Orca is out 9/18 via AWAL. Pre-order it here.

After starring together in the 2017 action-comedy The Hitman’s Bodyguard, Ryan Reynolds and Samuel L. Jackson are teaming up again, but this time, they’ll be appearing in bite-size episodes for Quibi.

According to the fledging streaming service, Reynolds and Jackson will be starring in an animated series titled Futha Mucka, and the description they provided makes about as much sense as, well, Quibi. Via Variety:

“Futha Mucka” will see Jackson play Reynold’s primary caregiver. Here’s the rather odd logline that Quibi provided for the series: Samuel L. Jackson and Ryan Reynolds love each other. More accurately, Ryan loves Sam. When asked for comment on his feelings for Ryan, Sam said “tell them I couldn’t be reached for comment.” When a minor mishap causes Sam to become Ryan’s primary caregiver, sh*t gets weird. Ryan is delighted to spend all of his time with Sam. Sam couldn’t be reached for comment.

Your guess is as good as ours for what’s happening there.

The announcement of Futha Mucka arrives at a tumultuous time for Quibi. The streaming service recently made headlines for its low rate of converting users to the platform after their free trial ended. Quibi reportedly lost over 90% of its subscribers, which is not great. Co-founder Jeffrey Katzenberger also raised eyebrows when he blamed the app’s rough start on the pandemic, which was an odd statement considering quarantine conditions have provided a captive audience for most other streaming services.

On top of all that, Quibi employees have voiced their frustration with higher-ups shelling out huge paydays to stars like Reese Witherspoon as the company proceeded to dole out salary cuts and layoffs. With that in mind, we’re guessing landing Reynolds and Jackson wasn’t cheap, but maybe they’re just the star power Quibi needs to turn things around.

(Via Variety)

An overwhelming majority of independent music venue owners surveyed recently said their venues would likely me forced to close their doors without federal funding. Now, those owners got some good news today: Senators John Cornyn of Texas and Amy Klobuchar of Minnesota have introduced the “Save Our Stages Act,” a new relief bill to provide funding for independent music and entertainment venues to help them make it through the pandemic.

The act would provide six months of financial support to help “keep venues afloat, pay employees and preserve a critical economic sector for communities across America.” funds would go only to small and independent venue operators, promoters, and talent representatives. The amount of money given from the grant would equal either $12 million of 45 percent of a business’ operation costs from 2019, whichever amount is smaller.

Amy Klobuchar said in a statement, “Minnesota’s concert halls, theatres and places of entertainment, like First Avenue in Minneapolis, where Prince famously performed, have inspired generations with the best of local music, art and education. This legislation would help ensure that small entertainment venues can continue to operate and serve our communities for generations to come.”

John Cornyn also added, “Texas is home to a number of historic and world-class small entertainment venues, many of which remain shuttered after being the first businesses to close. The culture around Texas dance halls and live music has shaped generations, and this legislation would give them the resources to reopen their doors and continue educating and inspiring Texans beyond the coronavirus pandemic.”

If the bill is passed as it reads now, $10 billion would be appropriated for the Small Business Administration to disperse in grants for independent live music venue operators affected by the pandemic.

With July almost at an end, we’re about to enter the final full month of summer, which means we’re going to start seeing the appearance of winter-wear again as labels begin rolling out their fall/winter 2021 collections. It’s insane to think about the summer coming to an end when it never really feels like it started, but the Palace drops are over, Supreme has wound down, and the best sneaker silhouettes of the year feel behind us.

This has been a truly weird year for fashion. Well… for everything!

But we’ll get by. At we can rest easy knowing that nothing has been as weird as those god awful Grateful Dead Nike SB Dunks. If you came here looking for those, kindly go dig yourself into a hole. You won’t find them here. But what you will find are some dope new Jordans, some new sustainable fashion, and a sunglasses collaboration between Post Malone and Arnette that’ll have you living out the end of the season in rose-tinted fashion.

Here are all the best sneaker and apparel drops of the week — let’s get into it.

Nike x Off-White Air Jordan 4 Sail

Virgil Abloh has teamed up with Nike in what is his first release for the year that doesn’t absolutely drive us up a wall. Don’t get us wrong, dude is talented, but he’s been spreading himself way too thin as of late and — to borrow a sentiment often felt about his former mentor — We miss the old Abloh. His latest with Nike captures some of the magic that’s been missing from his recent output, but of course, he had to go and make this drop WMNS-only sized.

We don’t hate that (women’s sizes have been denied too long, so a little counterbalance makes sense), but c’mon Abloh spread the love! Featuring full-grain leather and a grid mesh cover, this slightly de-constructed AJ4 is dressed in an all-Sail monochromatic colorway that is quite literally: Off-white.

The Nike x Off-White Air Jordan 4 is set to drop on July 25th for a retail price of $200. Pick up a pair through the Nike SNKRS app or through select Nike retailers, like END. Clothing.

Air Jordan 1 CO.JP Metallic Silver

While generally not fans of sneakers with a metallic colorway, there is just something special about seeing an AJ1 with metallic-detailing that just works for us. Maybe it has to do with the legendary shape, or the coveted lineage that follows, or maybe it’s just that it’s such a far step away from the original black and red that it almost feels like something new. Whatever the reason is, we’re digging it here.

A refresh of a 2001 colorway, the Air Jordan 1 CO.JP Metallic Silver will be an SNKRS Japan-exclusive and will arrive in a silver heavy-duty numbered briefcase.

The Air Jordan 1 CO.JP Metallic Silver is set to drop on July 25th for a retail price of $246. Pick up a pair exclusively through the Nike Japan online store.

Adidas YEEZY BOOST 380 Blue Oat (Reflective/Non-Reflective)

The oft-overlooked 380 silhouette is one of Ye’s weirdest and its dropping this week in both a reflective and non-reflective Blue Oat colorway. We’re going to suggesting shelling out that extra $20 for the reflective iteration as it adds a bit of visual flair to an otherwise flat design. Plus that extra shimmer will make it look like you’re wearing Conch shells on your feet, I mean, it already looks like that, but now at least it’s shiny.

The Adidas YEEZY BOOST 380 Blue Oat is set to drop on July 25th for a retail price of $230 (non-reflective) or $250(reflective). Pick up a pair at YEEZY Supply, or through END. clothing.

Eric Emanuel x Reebok Question Mid

Reebok doesn’t get a lot of love over here at SNX DLX, but when it does, it’s usually the Question Mid silhouette. This week, we have Eric Emanuel to thank for that due to his recent summer-ready makeup of the silhouette with Reebok. Featuring an all-leather upper in white, Emanuel’s take on the Question Mid is tasteful, with splashes of pink and blue accenting with double-e Eric Emanuel branding that seems to fit in seamlessly on the sneaker’s heel.

The Eric Emanuel x Reebok Question Mid is set to drop on July 24th for a retail price of $150. Pick up a pair exclusively through the Eric Emanuel webstore.

Nike Air VaporMax 2020 Flyknit

We’re a little torn on this one — on one hand, it’s not nearly as dope as the Nike Space Hippie collection, but on the other hand, it IS yet another sustainable sneaker by Nike that indicates that recycled materials are making their way to some of Nike’s other designs. That’s a good thing!

Made from recycled polyester yarn, and at least 50% recycled content by weight, this Smoke Grey VaporMax is a step into the future for Nike and we love to see it.

The Nike Air VaporMax 2020 FlyKnit is set to drop on July 23rd for a retail price of $220. Pick up a pair exclusively through the Nike SNKRS app.

Post Malone x Arnette Sunglasses Collection/h3>

Post Malone keeps dropping sunglasses and we’re not mad at it! This latest collaboration with Arnette Eyewear consists of four different frames, each distinct and with unique colored lenses that’ll make your world look just a little more Post-y. The Square framed AN4273 and 4274 are made from sustainable bioplastic and sport a strong shape with blue and purple-tinted lenses respectively.

If you’re feeling a little more stylish though, reach for the AN3081s or the AN6125 Laynes which offer rounder shapes and wireframes that harken back to the eyewear of the late 90s.

The Post Malone x Arnette Sunglasses Collection is available now at SunglassHut.

Sacai x UNDERCOVER MA-1 Jacket

The MA-1 jacket is a wardrobe staple. If you don’t have one you need to get one right now. Military-influenced cuts will always be stylish, but the MA-1 is the pinnacle of military-inspired fashion. In the hands of Sacai’s Chitose Abe and Japanese label UNDERCOVER, the craftsmanship is simply beautiful. Our only gripe — and it’s a big one — is the lettering on the back. It’s overkill. But the fact that this jacket drops in a navy, black, and army green colorway kind of makes up for it.

To shop the jacket, which is available in both Men and Women’s sizes, head over to the online Sacai store now.

Levi’s Circulose Denim

Look, we’re not going to stop beating the drum on the need for more eco-friendly fashion. Levi’s is taking a stab at making sustainable denim with two new cuts out of their Wellthread line. Both pairs were made using organic cotton and Circulose, which is a fabric made-up of discarded cotton that is broken down in a water washing process developed by Re:Newcell that turns the repurposed denim into new fibers that allow them to be more easily recycled.

The new denim fabric will be utilized on the High Loose Women’s cut and the Men’s 502 jean and are available now on the Levi’s webstore.

No team embodies more of what 2020 has been like in the WNBA than the Connecticut Sun, whose momentum following a gripping five-game Finals series against the Mystics in 2019 was followed up with a daring offseason that saw them overhaul a starting lineup that was the best unit in the WNBA. That, of course, was quickly followed by a shutdown in March that put the season in jeopardy and ultimately convinced 2019 MVP third-place finisher Jonquel Jones to opt out of the season.

The Sun are still in the mix at the top of the league but will be hard-pressed to replace Jones, who will instead spend the season with her family back home in the Bahamas. The underrated DeWanna Bonner joined the Sun from the Mercury this offseason, signing a maximum contract that allows her to finally be properly compensated and move out from the shadow of Diana Taurasi and Brittney Griner in Phoenix. Gone is fan favorite and 2019 playoff standout Courtney Williams, who was traded to Atlanta to give more control of the offense to Jones and Bonner. Like the league itself, Connecticut was set to capitalize on hype coming out of 2019 but now finds itself having to recuperate on the fly as the WNBA gets set to tip off this weekend.

WUBBLE ROSTER

DeWanna Bonner
Kaila Charles
Jacki Gemelos
Natasha Hiedeman
Bria Holmes
Briann January
Brionna Jones
Beatrice Mompremier
Kaleena Mosqueda-Lewis
Theresa Plaisance
Alyssa Thomas
Jasmine Thomas

KEY PLAYERS TO WATCH

DeWanna Bonner: The big offseason acquisition is the obvious answer here, especially with Jonquel Jones out. In Phoenix last season, with Diana Taurasi injured, Bonner absorbed a 26.7 percent usage rate and had one of the least efficient seasons of her career. It was ugly. There is some reason to believe Bonner will look better with Connecticut, but this Sun roster will struggle to space the floor like Phoenix did, and doesn’t have a lot of obvious play-making talent. It’s likely Bonner will once again have to operate out of position as a point forward (though coach Curt Miller has said her “true position” is at the 3, where he’ll try to play her most often) and create offense for a team of aging vets and unproven role players. If the 32-year-old Bonner rediscovers her 2018 form, the Sun offense can avoid slipping too much, but otherwise, Miller’s team is in for another year in which it struggles to score.

Bria Holmes: One of the most athletic players in the league will have a big opportunity to contribute for the Sun this season as she enters her prime. Connecticut is also replacing sharpshooter Shekinna Stricklen, who will join Williams with Atlanta this year. That means Holmes, who finally upped her deep shooting to a respectable level in 2019, will be the spark plug of an interchangeable wing rotation. Miller has said Holmes could play the 2 or 3, and she also reportedly grew a couple inches this offseason at age 26, meaning at 6-3, she could even fill in as a small-ball power forward. Between Mosqueda-Lewis and Gemelos, the Sun don’t need Holmes to step up to have a good season, but she has one of the highest ceilings on the roster and is a ton of fun to watch.

EXPECTATIONS

It’s hard to know. January and Bonner both struggled badly with the Mercury in 2019, while there is reason to believe Alyssa Thomas could be even better now that she’s (hopefully) fully recovered from a double shoulder injury that caused considerable pain throughout the playoffs last fall and caused her free-throw percentage to plummet below 50 percent. It will be a balancing act of finding the right players to pick up the scoring load without suffering on defense, but Miller is one of the best and most consistent coaches in the league. With a bit of luck, it wouldn’t be a huge surprise to see Connecticut challenge for a championship again.

X-FACTOR

Alyssa Thomas: We know Miller’s recipe is to coach up a versatile, physical defense and score through his system, so in this case, the X-Factor is Thomas, an individual player rather than a part of the box score or a broader narrative. As Ben Dull noted in his Floor Game preview of the Sun, Thomas could very well lead the league in minutes played. Connecticut doesn’t really have a traditional backup for her, with the primary options being a smaller player like Holmes or Bonner, or a plodder like Brionna Jones. While Thomas has averaged 30 or more minutes the past two seasons, she is in her prime and could probably surpass that in a season where she’s sorely needed. If Thomas is recovered from the shoulder injuries and playing heavy minutes, her play-making on offense could be the missing link for the new-look Sun.

BIGGEST ON-COURT QUESTION

If you’ve read this far, you know what I’m going to say: Who fills the play-making void? I have faith Miller can coax enough rim protection to make up for Jones’ game-changing interior defense (expect Brionna Jones to step up there), but until Jones broke out as a scorer in 2019, Miller had struggled to put together an elite playoff offense as a WNBA coach. With the smooth-scoring Williams also gone, several players will need to pick up that slack if Connecticut has any hope of a redux of their Finals run.

Just 21 years old, McCall spent her teenage years using a fake ID to play blues clubs in her Atlanta hometown. With just a handful tracks released to date, McCall has presented herself as a unique indie pop artist. The tracks she has released from her forthcoming EP find her belting over intricate soundscapes, almost like if Bon Iver wrote big chorus hooks primed for stadium singalongs.

Ahead of her new EP, McCall sat down to talk AC/DC, Princess Diana, and her obsession with Hozier in the latest Indie Mixtape 20.

What are four words you would use to describe your music?

Sad bops with spice.

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?

I would be happy to be remembered at all to be honest.

What’s your favorite city in the world to perform?

San Diego and Atlanta have both consistently been so much fun.

Who’s the person who has most inspired your work, and why?

Wow okay let me try to pick just one…I continuously come back to Hozier so I’ll have to pick him. In high school, I typed out all the lyrics to the self-titled album and made my little sister, Kelsey, listen to my analysis of the whole album. I like that he alludes to other poets and writers in his songs, because it gives me a bigger mission as a listener than just to listen to the album itself.

Where did you eat the best meal of your life?

Peking duck in Chinatown, Los Angeles for sure.

What album do you know every word to?

Lady Gaga’s criminally underrated Artpop album.

What was the best concert you’ve ever attended?

Mark Ronson’s “Club Heartbreak” show or Anderson .Paak’s “Paak House in the Park” concert

What is the best outfit for performing and why?

Right now, pajamas.

Who’s your favorite person to follow on Twitter and/or Instagram?

I’m going to sub in TikTok and say @bum.bailey.

What’s your most frequently played song in the van on tour?

“It’s A Long Way To The Top (If You Wanna Rock’N’Roll)”

What’s the last thing you Googled?

How to spell “Peking duck”

What album makes for the perfect gift?

Loggins and Messina.

Where’s the weirdest place you’ve ever crashed while on tour?

In my car, nothing too crazy.

What’s the story behind your first or favorite tattoo?

N/A

What artists keep you from flipping the channel on the radio?

Dua Lipa <3

What’s the nicest thing anyone has ever done for you?

My mother let me pursue a career in music???

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

Don’t do it.

What’s the last show you went to?

Royal And The Serpent @ the Troubadour.

What movie can you not resist watching when it’s on TV?

Any Lifetime movie about Princess Diana.

What would you cook if Kanye were coming to your house for dinner?

N/A due to the recent announcements.

On Self Loathing is out later this summer.

The biggest baseball move of the offseason was Mookie Betts being traded from Boston to L.A., joining the Dodgers after Betts and the Red Sox were unable to come together on a long-term extension.

There was a question of whether Betts and the Dodgers would be able to work out a deal for the 27-year-old former MVP, but it appears the two sides are very close to a deal that will keep Betts in Los Angeles for the rest of his career. According to ESPN’s Jeff Passan, Betts and the Dodgers are deep in negotiations and nearing the finish line on an extension that, including the 2020 season, would pay him $380 million over 13 years.

That would mean two of the most transcendent talents in baseball would reside in the L.A., with Betts in Dodger blue and Mike Trout in Angel red for their entire primes. In terms of raw dollar amount, it is the second-biggest contract in baseball behind Trout’s monster $426 million deal with the Angels, and — given his 2020 adjusted salary of $10 million — his AAV is right in line with the likes of Manny Machado and other big deals signed in recent years.

It seems like a good deal for both parties, as the Dodgers lock up a generational talent for his prime years and ensure that they didn’t trade a top prospect for a one-year rental. Betts gets the financial security he hoped to get from Boston, which may be particularly important given labor uncertainty facing baseball in the near future.