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Omar Apollo Unveils The Tracklist To His Debut Album ‘Apolonio’ And It Features Kali Uchis

With his latest singles, Omar Apollo has proven himself a powerful voice in pop. With two EPs now under his belt, Apollo has officially announced his forthcoming debut album, Apolonio.

The announcement arrives on the heels of his recent single “Dos Uno Nueve (219),” which stood as a tribute to both his Indianan and Mexican roots. Before that, Apollo debuted “Stayback” as a reflection on navigating a post-breakup relationship as well as “Kamikaze,” a lovelorn ballad. Now, Apollo has shared his Apolonio cover art and tracklist, which boasts exciting features from Ruel and Kali Uchis.

Along with offering details around his impending LP, Apollo has another exciting announcement. The singer will give a behind-the-scenes look at his recent Paisley Park performance through the documentary Live From Paisley Park. According to press assets, the documentary will depict “Apollo and his band as they record and rehearse around the legendary estate alongside their performance live from the Park.”

Check out Omar Apollo’s Apolonio cover art and tracklist below.

Warner Music

1. “I’m Amazing”
2. “Kamikaze”
3. “Want U Around” Feat. Ruel
4. “Stayback”
5. “Hey Boy” Feat. Kali Uchis
6. “Dos Uno Nueve (219)”
7. “Useless”
8. “Bi Fren”
9. “The Two Of Us”

Apolonio is out 10/16 via Warner Music. Pre-order it here.

Live From Paisley Park premieres 10/28. Get tickets here.

Omar Apollo is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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The Heat Have Embraced All Of Jimmy Butler And Are Reaping The Rewards

Imagine a horizon, pre-dawn. Now imagine a sun slowly lifting up from behind, its fingers of light reaching up toward the sky, a bright eventuality. The sun’s Jimmy Butler, flashing a smile over his shoulder, lifting for a pull-up jumper while his whole body curves to follow. Now picture the moon, still high in the clean dawn sky, blanching with the sun’s rising but hanging stubbornly around, unmistakeable. The moon’s Jimmy Butler, too. While we’re at it, so’s the horizon. A steady, spanning progression impossible to gain on, tapering where the human eye gets hazy looking back or squints in limited future sight.

He’s the scudding clouds, any birds lazily looping by, and the shadows soon stretching away from whatever’s in the sun’s way. By now you’re beginning to see the nature of this analogy much in the same way you’ve seen, as Butler proliferates in the playoffs, what’s been there all along. As a player his is not one role over another, by necessity he’s run the gamut of fits that have given his game an entirely environmental feel. He’s become every day only in the way we tend to relegate with familiarity the habits and landscape of routine, but now, in the light of a particularly dazzling morning, an emphatic 40-point, 11 rebound, 13 assist NBA Finals triple-double, the everyday becomes surprising enough to snatch the breath from you.

Butler has spent a career getting here. The same ten years his draft contemporaries — Kawhi Leonard, Kyrie Irving, Klay Thompson — did, who ascended faster, maybe brighter for a time, throttled our gazes away from the league’s more rhythmic landscape shifting with its regular seasons where Butler was working to become not just the life-giving star to a franchise, not its necessary longevity, or the keeper of its history, handed off to him whole so that he might realize its future, but all of it, the entire ecosystem.

In a media scrum between Games 3 and 4 of the Finals, Butler looked languid as he offered a glimpse into this full scope of his game as an ideal through what “winning basketball” looks like.

“I think they know what buttons to press to get me to play the way that they want me to play,” he said. “I don’t think that’s winning basketball all the time. I don’t. I think winning basketball is Duncan’s [Robinson] going to go off for six or seven threes, Tyler [Herro] can do that, K [Kendrick] Nunn can do that, Jae’s [Crowder] going to have a big night, we’re all locked in defensively. To me those are the best wins. We celebrate every win, but when somebody else has a great night that nobody expected,” he gives a small shrug, almost apologetic in what it acknowledges, that the record win he’d given the Heat counts less than the idealistic team win he’s just then imagining, “I love it.”

In ten years he’s toured the NBA, his moves not proof of a problem but a honed determination enforced with every shift to find the perfect fit. Not all players are afforded the autonomy needed to be this exacting, to not settle in a profession when there’s no guarantee of what, if anything, is next. In the time and ground he’s covered moving from Chicago to Minnesota to Philadelphia to Miami, Butler has grown exceptional at gauging scope, playing a much longer game. But in tracking every potential move, whether in the scope of his career or in 48 minutes on the floor, Butler less readily assigns himself the self-importance that his contemporaries in NBA stardom do. It isn’t a matter of modesty as much as it is the symptom of the inherent restlessness that has pushed his game to evolve incredibly evenly. In his first regular season with Miami, Butler was averaging the most consistent points per game since he played in Chicago and recording career-high rebounds and assists, yet his game was regularly described as “quiet.” In the postseason it came as a surprise to some, even those calling the games, that Butler was not only shooting well but shooting at all. That he was elevating himself as a singular entity, a shooter, instead of everything, all at once.

Catching his breath on court after Miami’s Game 3 win Butler was asked how the Heat reset the series, “I think we realized that we belong,” he said, adding, “that they can be beat.” The Lakers fallibility had been something the Heat did not seem aware of through the first two games of the series, and while crucial, it was the bit on belonging that Butler circled back to the next day.

Asked if there was a moment he could remember where he changed his own expectations of himself, Butler recalled his time in Chicago alongside Luol Deng and Ronnie Brewer who assured him he would make his mark on the league. “You deserve to be here, you belong here,” he remembered them telling him, “And that’s when I really started to be like, you know what? If these guys are telling me that, they’ve been here longer than I have, they know what it takes, that’s when I started thinking you know what, maybe you can become a decent player in this league.”

A part of his reticence to really see himself in the singular has been the necessary patience in waiting and maintaining hope that his next step would be the right one, but in Butler’s head he’s always differentiated himself. Set aside the bravado, the blowing kisses on court and pulling on worn in cowboy boots off it, and Butler’s lone-wolf-no-club characterization has been, most often, enforced by him — there is no one he wants to prove it to more.

Where Butler’s ended up, the center of a restless, occasionally detrimentally encompassing system, where his own panoramic view, to his detriment, can skip over him as a key part of it, may finally strike the necessary balance between two extremes. With the Heat his scope narrows, the system demands it. “We stay focused on ourselves,” Butler repeated throughout his post-game. It’s this necessary zeroing in, the permission to play his way in a system that is so well-suited to it, that has given his roaming experience and bedrock of work the boost that’s elevated him as standalone player. He gets to be selfish, unselfishly.

To call what Butler has been doing in the Finals a breakout performance is to discount the steady work it took him to get here. Unrecruited out of high school, working his way from junior college to an athletic scholarship at Marquette, being picked 30th overall and playing as many minutes as he could get his hands on in his rookie year, a clipped lockout season. He oscillated between injuries and season-highs with the Bulls to show them he was someone to build around but he was traded for fresher legs on paper over proof on the floor. He went to Minnesota prepared to lead a promising young team but it turned out the Wolves did not want for a leader as much as a stabilizing proxy against mercurial bouts of effort by Andrew Wiggins and Karl-Anthony Townes. But Butler was too good and too physically laconic to play a convalescing buffer and curtly, crucially, opted out. It was the same with the Sixers in as much as there was already a plan for two. As a third he was free to fill the gaps but by then Butler had worked for eight seasons to make work what he was comfortable with, and in Philly, there just wasn’t enough of it for him. His persona has distilled along the way and he’s leaned into it with verve, but for the only true thing that’s hounded him throughout it all to be the perception of high standards, there needed to have been something consistently backing it all up. For Butler, that bedrock has always been work.

“He’s a throwback,” Heat coach Erik Spoelstra said of Butler after Game 3, “It’s about how he impacts winning, how he impacts your team, your locker room, your culture, your franchise. He does that in a remarkable way.”

The Heat weren’t tailor made for Butler but it feels a damn near perfect fit. Still, like anything that looks destined, the legwork was a marathon. Butler fit so well into an already formed team because he’d familiarized himself with so many roles across stylistically different groups that grew increasingly ruptured. He’s been the hands-on, keyed up rookie so has no trouble with the intensity of Herro and Robinson. He’s played the mercenary so he doesn’t diminish the singular role of Crowder and he’s also seen a team as its premature veteran, a role he did not relish, and respects Goran Dragic, Andre Iguodala and Udonis Haslem all the more for holding. For the Heat, all they ever wanted was for Butler to be himself, something he’d long wanted but potentially never expected to get. That it took him a season to settle into it is not strange, it’s only strange it took this long for a team to want all of him, singularly, in this way.

That he has the stage now, its lights and keen attention, is a catalyst of timing, luck and opportunity. No one understands the rarity of this convergence better than Butler, who has seen this end as what he wanted from so many different vantage points. It’s why he can be calculating with his career and still turn its tensest moments of a high stakes game into collisions he laughs off while flat on the ground and offer winking volleys, like telling LeBron James that he’s the one in trouble with a minute thirteen left to go and nothing the Lakers could do about it.

The day after gaining one on the Lakers, Butler had just finished explaining with a smirk the relative speed of his rest and recovery given that Spoelstra likes to remind him in the middle of games that he’s not tired when, shifting back in his chair and into second person, he said, “These guys need you,” the smile that was playing across his face for ten minutes finally spread, “they see you. That’s how they’re gonna be.”

Whatever happens down the last stretch of these Finals, this prolonged, almost existential season, one of the brightest points has been Butler. Like seeing spots after glimpsing at the sun, he’s leaving his mark by playing a singular, starring role on a team that asked him to do it. It isn’t that Butler is only now being seen, it’s that there’s no one who isn’t watching, who wants to tear their eyes away.

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The Music World Reacts To The Death Of Rock Icon Eddie Van Halen

Less than an hour ago, the world learned about the tragic passing of music legend Eddie Van Halen, who died this morning at 65 years old after a years-long battle with throat cancer. Van Halen has influenced generations of musicians, rock and beyond, so as news of his death spread, the music world reacted to the terrible news.

The most heartbreaking reaction came from Van Halen’s son and bandmate Wolfgang Van Halen, who confirmed the news of his father’s passing and wrote, “I can’t believe I’m having to write this, but my father, Edward Lodewijk Van Halen, has lost his long and arduous battle with cancer this morning. He was the best father I could ever ask for. Every moment I’ve shared with him on and off stage was a gift. My heart is broken and I don’t think I’ll ever fully recover from this loss. I love you so much, Pop.”

Red Hot Chili Peppers bassist Flea shared some words as well, writing, “Oh man, bless his beautiful creative heart. I love you Eddie Van Halen, an LA boy, a true rocker. I hope you jam with Jimi tonight. Break through to the other side my brother.” Gene Simmons also noted, “My heart is broken. Eddie was not only a Guitar God, but a genuinely beautiful soul. Rest in peace, Eddie!”

Check out some more reactions below.

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HBO’s ‘Wild Card: The Downfall Of A Radio Loudmouth’ Explores Our Seemingly Endless Appetite For Sports Blowhards

East Coasters’ apparently endless appetite for caffeinated townies shouting lukewarm sports takes loudly in the morning is as strange and exotic to the rest of the country as their obsession with bodegas and bad coffee. Oftentimes, the titans of sports talk scream theater remain strangers to those of us west of the Mississippi until they become famous enough to warrant the documentary treatment. Such is the case with Craig Carton — former co-host of WFAN’s “Boomer & Carton,” alongside Boomer Esiason — profiled in HBO’s new rise-and-fall documentary, Wild Card: The Downfall of a Radio Loudmouth. It’s fascinating to see how just much trouble Carton (degenerate gambler, eventual securities fraud committer) has to get into simply to distinguish himself from anyone else in this genre.

Carton, according to the documentary, is an asshole on the radio (“I’ve got a big mouth”) but a softie deep down, with a regional accent, a deep well of hot takes, and a gambling problem. I think it would be funny to remake this as a mockumentary starring a fake radio host, just to see if anyone outside of the tri-state area could tell the difference. Barely two minutes into Wild Card, talking heads are already explaining the difference between “Craig Carton,” the caring family man, and “Carton,” the loud-mouthed sports opinion-haver he plays on Boomer & Carton. This kind of faux-introspective ego vs. alter-ego comparison has been a staple of sports reporting for so long as to be muscle memory (Deion Sanders vs. Neon, Brian Bosworth vs. The Boz, Earvin Johnson vs. Magic, etc), but it’s much funnier when applied to a broadcaster whose “sport” consists of shouting that A-Rod is a bum every morning.

I would’ve loved to see a scene where Craig Carton, caring family man, watches his children play soccer, but starts twitching like Bruce Banner when each subsequent poor coaching decision threatens to turn him into his evil twin, Carton, who’d surely level the playing field with a nuclear sports take. “Ay, he tells it like it is, ya gotta give ‘im dat,” bystanders would say, respectfully.

The film depicts other talking heads, like Chris Christie and an assortment of other New York sports radio people I didn’t recognize, explaining that what makes Craig Carton so successful is that he’s “funny and edgy.” That he “tells it like it is,” and that “whether they love him or hate him they can’t stop listening to him.” This is interspersed with clips from Boomer & Carton where Carton puts a sausage down his speedo and walks across the Brooklyn Bridge, or calls a random listener to ask if she’s “got bush,” because “we’re doing a search for bush.”

There’s an uncanny valley aspect to Wild Card, where I learn about an apparently famous New York sports radio man, only to discover that he’s a virtual carbon copy of all the other East Coast yelling sports radio men I belatedly learned about. It causes one to ponder this entire phenomenon — how widespread it is, the latent desire it fulfills, and how it was discovered. How is there such widespread, deep-seated appetite to be screamed at by a medium-smart gambling addict? Was there at one point a telling-it-like-is gap that desperately needed to be closed?

The question of what makes Carton different from Francesa or Mad Dog or the other East Coast radio guys I learned about from other documentaries or cameos in gambling movies is the withheld information that keeps us watching. In the early minutes of the film, Carton reveals the he’s been hiding a dark secret since childhood. For the next 40 minutes, the film mostly depicts Carton becoming more and more successful as a radio guy while getting deeper and deeper into a gambling addiction.

We think, Hold on, his secret can’t be that he’s a gambling addict, can it? That would be the last surprising secret of all time, like Donald Trump admitting that he’s laundered money.

Despite getting deep into gambling debt and eventually going to prison for securities fraud (frankly I would’ve liked to know more about that plea deal) it turns out that gambling is not the secret Carton was hiding. The secret he is hiding, is more compelling than that (I don’t want to spoil it here even though you could probably look it up). Yet even still, it warrants only a brief discussion before Wild Card returns to its reflexive, rise-and-fall-of-an-unlikely-hero structure.

It’s a wonder that this structure should remain reasonably compelling to me despite not caring much about the subject and never quite answering what, to me, is the central question of the story: why does the media world need so many of this guy and why are there so many of them? Yet in happily sitting through a documentary I’ve already seen a version of many times before, maybe I’ve partly answered my own question. Maybe HBO sports documentaries are just my morning sports talk radio, familiar and comforting in ways we can’t entirely explain.

‘Wild Card: The Downfall Of A Radio Loudmouth’ premieres on HBO on Wednesday, October 7. Vince Mancini is on Twitter. You can access his archive of reviews here.

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The Bucks’ Fiserv Forum Will No Longer Be A Voting Site In The Elections Amid Legal Threats

This summer, the NBA staged an unprecedented work stoppage in the middle of the playoffs in Orlando as a response to the police shooting of Jacob Blake, an unarmed Black man from Kenosha, Wisconsin. The Milwaukee Bucks were at the center of that walkout and led the way for the rest of the league to join their effort to bring awareness to a situation that has become all too familiar in American life.

Together with the league, they helped form a social justice coalition that was designed to fight racial inequity from an institutional standpoint and start a media campaign that would educate the public about the grim facts of inequality and its effects around the country.

One facet of that plan included using team-owned NBA arenas as voting locations in the coming elections in November. Many teams signed off on that idea, but now the Bucks, which were pivotal in enacting this initiative, are apparently rescinding their agreement to use Fiserv Forum as a voting center, citing threats of legal action from the state’s Republican party.

Via WISN:

Election Commission Executive Director Claire Woodall-Vogg made the announcement Tuesday morning after a threat of a legal challenge from the Wisconsin Republican Party.

“Unfortunately, the addition of these two sites could be legally challenged due to a recent court ruling, and we don’t want to do anything that could risk a city of Milwaukee voter’s ballot being counted,” Woodall-Vogg said. “We want residents of Milwaukee to feel complete and unwavering confidence that their ballot will be counted in the election, and this action reflects that commitment.”

In a statement, the Bucks confirmed this decision, and stressed that they are “committed to encouraging and educating people to vote.”

As an offshoot of LeBron’s More Than A Vote campaign, the idea of using NBA arenas as voting sites is an effort to counteract widespread voter suppression tactics that disproportionately target minority groups. Many arenas are centrally located and readily accessible to help avoid overcrowding and long wait times on election day. The majority of voters in Milwaukee vote in person, and a list of 13 other early voting sites can be found here.

(WISN)

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Michelle Obama breaks down why voting Biden in—and Trump out—will end America’s chaos

For eight years, Michelle Obama had a front row seat to the U.S. presidency. Perhaps more than any other citizen, she’s seen what that job entails and what the character of the person holding that office means for their ability to do the job.

As the world’s most admired woman several years running, Obama has an audience. And though she’s famously detached from the nitty gritty world of politics, she has the first-hand experience to offer some words of wisdom. Today, she’s done just that.

In a 26-minute video posted to social media, Obama makes a “closing argument” for ending the Trump presidency and opening a new chapter of decency and calm with Joe Biden. In it, she lays out where we are in this crazy, chaotic moment and explains how the president has contributed to getting us here. “Let’s be honest,” she says. “The country is in chaos because of a president who isn’t up to the job.”

She also lays out reasons for voting for Biden, whom she calls “a leader who has the character and the experience to put an end to this chaos, start solving these problems and help lighten the load for families all across the country.”


It’s clear that the former First Lady filmed the video prior to the president contracting COVID-19, as she doesn’t mention the diagnosis (or the irresponsible insanity that has followed) in it. She also shared this message on Facebook with the video:

“I understand if the last few days have felt like a whirlwind. My heart goes out to everyone touched by this virus—from those in the White House, especially the Secret Service and residence staff whose service to this country ought never be taken for granted, to all those across the country whose names and stories most of us will unfortunately never know.

The truth is, the events of the past few days are a bracing reminder of the tragedy that has been this administration’s response to this crisis. And I’ll be very honest: This is a message I’d planned to release earlier, and after everything that’s happened, I weighed whether or not to go public at all. But I wanted you all to hear what’s been on my mind. Because the drama of the past few days has only emphasized what’s at stake in this election, from the coronavirus to a constant drumbeat of fear, division, and chaos that’s threatening to spiral out of control. There’s only one way we can pull ourselves out—by voting for my friend Joe Biden, who’s got the heart, the experience, and the character to lead us to better days.

So I hope you’ll watch, and I hope you’ll share this video with everyone you know who might still be deciding how or if they’re going to vote. And more than anything, I hope you’ll vote for Joe with power, with passion, and with a love of this country that cannot possibly be denied.”


Michelle Obama’s Closing Argument | Joe Biden For President 2020

youtu.be

There’s a lot of compelling stuff in there, but here are some highlights worth revisiting.

On Trump’s values:

“A president’s policies are a direct reflection of their values and we’re seeing that truth on display with our current president who has devoted his life to enriching himself, his family and other wealthy people he truly understands, cutting taxes for the rich and big corporations, cutting regulations that protect regular families from getting taken advantage of by people like him, cutting his friends loose from prison time. He boasts about gains in the stock market, but when you look at the lives of regular folks, whether it’s creating blue-collar jobs, making healthcare more affordable, protecting the environment, keeping our family safe from gun violence, let alone the coronavirus, there’s nothing much to brag about.”

On Biden’s values:

“By contrast, Joe Biden has lived his life guided by values and principles that mirror ones that most Americans can recognize. I know Joe. He is a good man who understands the struggles of everyday folks. When he was a kid, his dad lost his job. His family had to move to find work. As a young man, he quit his job at a lucrative law firm to serve as a public defender protecting the rights of those who couldn’t defend themselves.

He continued to serve this country, even in the face of unimaginable tragedy, losing his wife and baby daughter, later in his life, his eldest son. Relying on his deep faith in God to carry him through, never growing cynical and always willing to see the humanity in us all. It is that spirit, that determination that will make Joe the kind of president we need right now, one who will continue to put the needs of the country before his own to ensure that all families can get back on their feet and our economy can get back on track.”

On how Biden will help the nation recover from the pandemic:

“He’ll start by getting this virus under control, working with a broad coalition of leaders to develop a national strategy that will include mandatory mask wearing and free testing. He’ll get schools the resources they need to sort through this confusion. He will listen to doctors and scientists to make sure that any vaccine will be safe, effective and available to everyone.

Joe Biden will also get back to work solving problems that this president has ignored or made worse these past four years. Joe will give working families a tax credit for childcare. He’ll roll back those tax cuts for the rich and instead help small businesses and working families. He’ll lower the cost of prescription drugs and give every American access to affordable health coverage. He’ll work to restore trust between police and communities of color and address the racial discrimination that has plagued us for far too long. He will protect our planet. He will invest in our schools and bring people together to get something done, even across our differences.”

On thinking beyond partisanship with your vote:

“I want to ask every single American, no matter what party you normally vote for, to please take a moment to pause. Click off the news. Think about how you felt over these last four years, how quickly things have turned and then think about what next four years could mean for our country’s future, the message we will send to our children about who we are and what we truly value. Think about what would possibly compel you to accept this level of chaos, violence, and confusion under this president and be willing to watch our country continue to spiral out of control. Because we can no longer pretend that we don’t know exactly who and what this president stands for.”

On bringing competence and maturity back to the White House and ending the chaos:

“Right now, we’ve got a chance to start getting things back under control, to restore some stability and integrity and soul in this country. It is within our grasp. That’s what keeps me going, thinking about a time not all that far off, with a new president in the Oval Office, a trustworthy, honest, stable leader with a clear plan for controlling this virus and getting our economy back on track. With meaningful support for families and schools, with competence and maturity instead of chaos and confusion. It is possible. It really is, but only if we vote for Joe Biden in this election. We have all been working so hard to keep ourselves and our families afloat and we deserve a president who will do the same.”

Please vote, and vote early if possible. Visit vote.org to register to vote and find out about voting deadlines in your state.

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Eddie Van Halen Is Dead At 65 After A Battle With Cancer

Eddie Van Halen, the legendary guitarist who co-founded the band Van Halen, has died at 65 years old, TMZ reports.

Van Halen’s son and Van Halen bandmate Wolfgang Van Halen confirmed the news this afternoon, revealing that his father died this morning (October 6). He wrote on Twitter, “I can’t believe I’m having to write this, but my father, Edward Lodewijk Van Halen, has lost his long and arduous battle with cancer this morning. He was the best father I could ever ask for. Every moment I’ve shared with him on and off stage was a gift. My heart is broken and I don’t think I’ll ever fully recover from this loss. I love you so much, Pop.”

Last year, Van Halen was hospitalized due to complications from cancer treatments. He had secretly been battling throat cancer for the previous five years. In April 2020, he was reported to be in stable condition.

In 1972, the band Van Halen was formed, and the group achieved tremendous success. The band has four No. 1 albums and a chart-topping single, the memorable upbeat hit “Jump.” The band is one of the most successful of all time: RIAA data published last month revealed the band Van Halen is the 20th best-selling artist of all time, with over 56.5 million album units sold across their storied discography. Additionally, Van Halen himself was immensely respected as a guitarist and is commonly viewed as one of the most skilled and influential of all time.

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The Director Of ‘World War Z’ Is Now Directing The (Equally Terrifying?) ‘Thomas The Tank Engine’ Movie

After 20 years, Thomas the Tank Engine is returning to the big screen in a new, live-action movie from World War Z director Marc Forster. The beloved children’s series has been the property of Mattel since 2012, and now, the toy company is including the cheeky little engine in its aggressive plans to turn its most popular brands into feature films.

The Thomas movie will reportedly be a mix of live-action and animation similar to Alvin and the Chipmunks and Detective Pikachu. A script is already locked down, so it’s just a matter of getting the film into production with its new director. Via Deadline:

“Thomas is a beloved global franchise that focuses on the importance of friendship, a theme that resonates deeply with children and parents around the world,” said [executive producer] Robbie Brenner. “Marc is an incredible storyteller and I look forward to partnering with him to tell Thomas’ story in a modern and unexpected way.”

While there were no plot details, the film will be most likely be heavy on the caring and sharing, and light on the more nightmare-ish elements of the classic series that freaked out the internet a few years back. In 2017, former College Humor writer Tristan Cooper noticed that one of the older episodes featured a storyline where Henry, one of Thomas’ fellow engines, is trapped inside a makeshift tunnel prison after he refused to work in the rain. “A stubborn train is punished by being entombed alive forever,” Cooper wrote, “and it’s worse than any horror movie.”

After Cooper posted the video, Twitter users chimed in with their horrified reactions. “What moral lesson are kids supposed to learn from this?” one commenter wrote. “Do as you’re told or you will be entombed forever in the darkness to die?” I mean, if it gets them to stop jumping on the couch…

(Via Deadline)

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Christine And The Queens Shares A Slow-Burning Cover Of Bruce Springsteen’s ‘I’m On Fire’

This year celebrated 45 years since Bruce Springsteen released his iconic record Born To Run, which Uproxx’s Steven Hyden named “one of the greatest rock albums ever made,” an opinion with which few would argue. Springsteen is currently gearing up to release yet another album, but Christine And The Queens decided to pay homage to the classic record by hopping on piano to share a soulful rendition of the Born To Run track “I’m On Fire.”

Transforming the song from an atmospheric tune to a slow-burning piano ballad, Christine showcased her soaring vocals while delivering the song’s lyrics alongside an upright piano. “Sometimes it’s like someone took a knife, baby, edgy, and dull / And cut a six-inch valley through the middle of my skull,” Christine sings. Sharing the cover to social media, Christine offered a heartfelt note to fans. “Miss you all,” she wrote with a heart emoji.

Christine’s “I’m On Fire” rendition is the latest in a handful of covers the singer has shared as a way to keep fans entertained during the lockdown. Along with Springsteen, Christine has shared covers of The Weeknd’s “Blinding Lights,” Travis Scott’s “Highest In The Room,” and Neil Young’s “Heart Of Gold.”

Watch Christine And The Queens cover “I’m On Fire” above.

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Emilia Clarke Has A Depressing Theory About What Happened To Her Dragon After ’Game Of Thrones’

James Hibberd’s oral history Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series is full of goodies for Game of Thrones fans. It’s where we learned about the cruel prank that showrunners David Benioff and D.B. Weiss played on It’s Always Sunny in Philadelphia‘s Rob McElhenney, the “complete piece of sh*t” original pilot, and author George R.R. Martin’s least favorite scene in the HBO series. The book also includes Emilia Clarke’s super-depressing theory about what happened to Drogon — and, uh, Daenerys’ lifeless body — following the series finale.

In “The Iron Throne” (extremely belated spoilers), Jon Snow kills Dany, and when it looks like her dragon Drogon is going to kill him, too, the winged beast melts the throne and flies off into the unknown. Did Drogon eat the Mother of Dragons? Maybe. But that’s not what Clarke believes. “I think he flies around with her body until it decomposes. I literally think he keeps flying until he can’t fly anymore,” she said. “He just keeps grieving.”

That’s way more dark than Benioff’s explanation, which is that he flew to Volantis. Also, as he told Clarke, “Drogon’s not going to eat you. He’s not a cat. Did you see how gently he was nudging you?” That’s cute, until you remember the decomposing corpse thing.

(Via TVLine and Fire Cannot Kill a Dragon)