Marvel’s next superhero epic Shang-Chi And The Legend Of The Ten Rings hits theaters tonight and along with it, Marvel Music and Interscope Records are also releasing its soundtrack, Shang-Chi And The Legend Of The Ten Rings: The Album. Similarly to what Marvel did with the release of Black Panther a couple of years ago, the entertainment giant has tapped the Los Angeles-based label 88rising to executive produce the soundtrack, bringing in the label’s roster of Asian and Asian-American talent to contribute music from and inspired by the film. The LA-based label has provided a home for Asian and Asian-American artists for the past five years, so it’s a move that makes plenty of sense for Marvel’s first major Asian superhero to hit the big screen.
88rising executive produced the project in collaboration with Shang-Chi director Destin Daniel Cretton, making use of the film’s Bay Area setting to craft a vibe fitting for the film’s narrative and to tap into the cultural experiences of Asian-American viewers. In the press release, Cretton said, “The music on this album is the beating heart of our film. As we were editing Shang-Chi, we were constantly inspired by the early recordings coming in from these incredible musicians. When I first spoke to Sean about the idea for this album, we knew we wanted it to stand alone as a piece of work, but also be wrapped in the themes of our movie… themes of family, legacy, pain and healing. We also just wanted to make a really great album that gives us all another reason to celebrate. I couldn’t be more excited to share this music and these artists with the world.”
A new law just went into effect in Texas and it’s causing some controversy: The state has now effectively banned abortions after six weeks, without exceptions for cases involving rape or incest. The state also allows citizens to sue anybody who assists a woman in getting an abortion, including abortion doctors, anyone who gives a patient a ride to a clinic, or anyone who offers a patient financial assistance to get an abortion.
Plenty have spoken out against the law, and now Lucy Dacus is putting her money where her mouth is: She has vowed to donate her earnings from her upcoming Texas concerts to abortion funds.
On Twitter this morning, Dacus wrote, “all the money I make at our upcoming shows in Texas will be going towards abortion funds [just so you know], if you’re not cool with that don’t come.” She then followed up, “if you are cool with that (and are vaccinated) Austin and Dallas are sold out, but Houston and San Antonio are not, come thru and bring extra $ cause I’m gonna figure out a donation situation.”
all the money I make at our upcoming shows in Texas will be going towards abortion funds jsyk, if you’re not cool with that don’t come
Dacus kicks off her fall tour next week with a couple of Virginia shows. Later this month, she performs in the Texas cities of Dallas, Houston, Austin, and San Antonio on September 17, 18, 19, and 20, respectively. As Dacus noted, while the Austin and Dallas shows are sold out, tickets for the Houston and San Antonio performances are still available.
Arizona rap group Injury Reserve returns this year with a new album, By the Time I Get to Phoenix, dropping September 15. Ahead of the release, the duo shares the trippy video for “Superman That,” an angst-ridden track over a glitchy, industrial music-inspired beat. It’s the second single from the project after “Knees,” and finds surviving vocalist Ritchie With a T swapping between pained crooning and woozy rapping.
By the Time I Get to Phoenix will be the first album released by Injury Reserve after the death of founding member Stepa J. Groggs, who passed away in June of 2020 at the age of just 32. Remaining members Ritchie and producer Parker Corey completed the album over the course of the past year and dedicated its upcoming release to their fallen member.
While the group has remained relatively low-key since Groggs’ death, they did appear on Portland rapper Aminé’s 2020 album Limbo on the song “Fetus,” which ponders fatherhood.
Watch the video for “Superman That” above.
By the Time I Get to Phoenix is due 9/15. Pre-order it here. See the full tracklist below.
1. “Outside”
2. “Superman That”
3. “SS San Francisco” (feat. Zelooperz)
4. “Footwork in a Forest Fire”
5. “Ground Zero”
6. “Smoke Don’t Clear”
7. “Top Picks For You”
8. “Wild Wild West”
9. “Postpostpartum”
10. “Knees”
11. “Bye Storm”
Recently, I wrote about how music festivals have become the new proving ground for emerging artists. But there’s another function that festivals could be serving at the other end of the spectrum: booking legacy acts. While greenhorns and neophytes need a space to work out the kinks in their live shows and build centralized fanbases without the expense and time commitment of a lengthy tour, those who have deeply contributed to hip-hop’s cultural narrative — and have been, unfortunately, overlooked and bypassed for so long — could use the same opportunities.
In the past, Uproxx has addressed the benefits of festival appearances for legacy rap acts like A Tribe Called Quest, De La Soul, and Wu-Tang Clan… so why aren’t artists like these getting booked at more festivals? Or even for that matter, further down the bill at festivals marked for breakout hip-hop, such as Rolling Loud, Summer Smash, or Made In America? Whenever older acts are booked, it’s usually the biggest names — the Tribes, the Lauryn Hills, the Nases (Jones, not X), or the Snoops — and usually only as headliners.
That leaves a lot of room for overlooked, forgotten, underrated, and tenured rap acts, many of which remain active, playing small, local venues, juggling side hustles, and putting out their newest work independently. Off-hand, I can name dozens who have self-released their music, from AZ (the follow-up to his standout 90s borderline classic Doe Or Die drops this week) to EPMD (who got a nod on the eponymous track “EPMD” from Nas’ first King’s Disease album then appeared on the remix “EPMD 2” on the sequel) to many other artists whose catalogs Gen Z rediscovered through their participation in the Verzuz hits battle series produced by Swizz Beats and Timbaland.
Any number of veteran performers could fill out a festival lineup — especially in the medium-sized print section in the middle of the flyer — and offer an alternative to older fans wishing to skip sets from the newer acts figuring it out on the fly. Alternatively, younger fans catching performances from older artists could learn more about the music that preceded them and perhaps even influenced their current favorites. From a musical standpoint, diversifying the performers’ age groups could also create opportunities for much-needed mentorship and guidance by putting legends in close proximity to rising stars, benefiting both sides.
Imagine a world in which “old heads” didn’t seem quite so out of touch and bitter about being bypassed by the culture as tastes evolve. Imagine one in which “new jacks” were imparted the wisdom to care more about their careers and craft, avoiding the pitfalls and missteps that prematurely ended the relevance of some of those who came before them. In this world, rather than seeing constant internecine conflict between different generations of rappers and their fans, hip-hop could present a united front to the mainstream pop culture that often takes from it without compensation.
There has been some movement in a positive direction, though, with festivals like Lovers And Friends, whose original 2020 iteration struck a near-perfect balance between the classic and the new, casting Megan Thee Stallion and Saweetie alongside their inspirations like Eve, Lil Kim, and Foxy Brown before being canceled due to the pandemic. Perhaps when the rescheduled event returns, its organizers can find ways to include younger artists again after removing them from the 2022 flyer. Likewise, the Once Upon A Time In LA festival organized by Snoop Dogg has West Coast legends like DJ Quik and Warren G sharing space with rising names like BlueBucksClan, Drakeo The Ruler, and OhGeesy.
It’s worth noting that Snoop has always shared himself and his wisdom with up-and-coming artists from the Los Angeles area, and not a stretch to assume that at least some of his impressive longevity stems from that willingness to be a guide for younger artists rather than a judgmental scold. Artists often flourish under his tutelage — Game, Nipsey Hussle, Problem, and more have counted him as a mentor — while he benefits from being included in just about every young artist’s success story, not to mention their music. If/when D Smoke becomes a household name, Snoop Dogg will almost certainly be attached to D Smoke’s story for playing an instrumental role in the Rhythm+Flow rapper’s start and his feature on Smoke’s banger of a single, “Gaspar Yanga.”
Maybe it’s a little pie in the sky, but I can see a world where all our hifalutin ideas about cooperative, artist-owned labels, and rapper-led music industry labor unions could be achieved through this relationship-building putting artists with experience in the same rooms and on the same stages as ones with influence. Such a thing could only be good for hip-hop — and for the artists who represent it. Their recordings and performances could grow fresher, more entertaining, and more universally appealing, increasing the opportunities, platforms, and profits for everybody.
So, hey, promoters, not to tell you how to do your jobs but just think about expanding the age range of these festival rosters. If it doesn’t seem like they’d be much of a draw, I understand. I’m old enough to remember the downfalls of Paid Dues and Rock The Bells, so I know there’s a risk involved. But as the saying goes, no risk, no reward. This is a risk that has rewards far greater than just one event’s ticket sales. It could wind up paying off for generations to come. It could change the face of hip-hop or even the entire music industry. If festivals are really about the music, really about the community, then that’s a risk well worth taking. After all, hip-hop is for the children, but even children of hip-hop grow up eventually.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The situation in Afghanistan’s a true disaster, and there’s no real debating those circumstances. However, the far-right has found plenty of fuel to put the blame squarely on Biden’s shoulders. That’s why Donald Trump Jr. is gloating over the timing of the withdrawal happening on Biden’s watch, and “Chachi” actor Scott Baio is starting feuds with 1980s hair gods over the fall of Kabul. None of the right-wing wants to talk about the dodgy Trump deal, and Tucker Carlson’s only encouraging that attitude by cooking up a fresh conspiracy theory for why the Biden administration went through with the withdrawal and, in turn, evacuated Afghan refugees.
Tucker begins to plant a pretty nefarious seed while claiming that Democrats aren’t worried at all about Afghanistan fallout affecting the 2022 and 2024 elections. Fox News posted his Wednesday night rant on the subject on the cable news networks’ website while claiming that Afghanistan (which, by the way, is a multi-administration-borne disaster) is “part of a larger plan.” And the implied plan, according to Tucker, is to seed swing states with Afghan refugees, which Tucker argues is a way for Democrats to rig elections or something? Yep, the far-right persists in sowing doubt in democracy.
These are “refugees who don’t speak English. So the question is, where are they going next?” Tucker asked in his patented question-as-statement method. “Where all these people will be living three years from now? That’s a fair question.”
He continued while arguing that the refugees will become visa holders who settle in the U.S. From Tucker himself:
You may notice that these communities include an awful lot of swing districts and swing states all over the United States. It’s not just Virginia. Three of these communities are in Texas. The state the Democratic Party has tried to flip for years. Now it’s their first priority. One of these cities is Austin, one is Dallas and another is Houston. The State Department has also urged Afghans to go to the state of Pennsylvania. Does Pennsylvania need more people? Probably not. A lot of unemployment between Pittsburgh and Philadelphia. But Pennsylvania is also a state that Donald Trump won in 2016. So maybe they should go there.
Never mind that these refugees won’t be able to vote anytime soon, if ever, because they won’t be U.S. citizens. Tucker’s all about creating doubt for results of future elections, and he’s getting a jump start here from a two-decade war that, somehow, he’s twisting into the ultimate long game by Joe Biden.
Joe Rogan is not a doctor, but he sort of plays one on Spotify. While he regularly abuses his position as one of the world’s most popular podcasters to push COVID conspiracy theories and misinformation, he has also admitted to being a “f*cking moron.” So it was probably only a matter of time before Rogan’s carelessness caught up with him. The inevitable comeuppance came on Wednesday, when Rogan announced that he had tested positive for COVID and was being treated with “all kinds of meds Monoclonal antibodies, ivermectin, Z-Pak, Prednisone, everything. And I also got an NAD drip and a vitamin drip, and I did that three days in a row.”
Ivermectin, of course, is the horse dewormer the FDA is begging people to stop ingesting. But that’s not the only problem medical professionals have with Rogan’s COVID “cure.”
As Mediaite reports, CNN medical analyst Dr. Jonathan Reiner spoke with Don Lemon on Wednesday night and took issue with pretty much everything Rogan is doing, calling his COVID cocktail “a crazy jumble of… folk remedies and internet-prescribed drugs.”
So he says he’s taking ivermectin. It doesn’t work. I wish it worked. It would be great if it worked. You know, it’s an old drug. It’s a cheap drug. It would be fantastic if it worked. It doesn’t work. We know that.
He said he received monoclonal antibodies. It’s really not indicated for him. It’s indicated for people with mild to moderate symptoms at high risk of progression. It doesn’t seem like that’s him.
He said he took steroids – prednisone. That’s only indicated for hospitalized patients on oxygen therapy.
And finally, he said he took azithromycin, an antibiotic, which doesn’t work for a viral illness. We know that. So you know, he’s promoting kind of a crazy jumble of you know, sort of folk remedies and internet-prescribed drugs. It’s, again, dangerous now. He should have more sense after encountering the disease. And again, I hope he does well and gets well quickly. He’s not helping matters when he promotes this sort of nonsense therapeutic mix.
Perhaps most concerning to Dr. Reiner is that Rogan “has the ear of these people. He could be a force for vaccinating in this country, for putting the virus down by simply saying, ‘You know something? I was wrong. This virus is nothing to be played with. If you haven’t been vaccinated, go out and get vaccinated.’’
Of course, that will never happen.
Meanwhile, Raw Story noted that public health scientist Eric Feigl-Ding was using Twitter to ruthlessly shame Rogan for continuing his misinformation campaign while in the throes of the virus. Feigl-Ding wryly noted that Rogan “pushed ivermectin (not proven to work) and for rescheduling his Nashville show, he says ‘obviously nothing that I could control’— ummm, yes you can @joerogan — masked indoors? Maybe telling people to vaccinate more forcefully could help too.”
Joe Rogan has tested positive for #COVID19 after he returned Florida. Rogan, who was rebuked by federal officials last spring for suggesting that young healthy people don’t need vaccinations, now says that he started feeling sick after performing. https://t.co/kjw4ewslRq
2) “Throughout the night I got fevers, sweats, and I knew what was going on,” he said in a video on Instagram, adding that he isolated himself from his family, staying in a different part of his house. https://t.co/8OpZezyzrQ
3) He pushed ivermectin (not proven to work) and for rescheduling his Nashville show, he says “obviously nothing that I could control”— ummm, yes you can @joerogan — masked indoors? Maybe telling people to vaccinate more forcefully could help too. pic.twitter.com/C7vYyZRLR9
Feigl-Ding’s best line, however, came when he retweeted a promo for Rogan’s Orlando show, and captioned it: “Catch Joe Rogan” in Orlando… the coronavirus did.”
Earlier this year, Jay Leno apologized for years of racist, lazy jokes about the Asian community in a discussion with Media Action Network for Asian Americans leader Guy Aoki. “At the time I did those jokes, I genuinely thought them to be harmless,” the former-The Tonight Show host said, adding that “I do not consider this particular case to be another example of cancel culture but a legitimate wrong that was done on my part.”
Unlike, say, fellow multi-millionaire veteran comedians Jerry Seinfeld or Tim Allen (“You’ve gotta be real careful around here. You get beat up if don’t believe what everybody believes. This is like ’30s Germany,” the conservative moaned), Leno is not whining about how he can’t tell the same jokes that he used to.
“When I do a gig in Utah and they’ll go, ‘Look, we don’t want any drug jokes, we don’t want any sex jokes.’ I go, ‘OK, I’ll take those out’ and I do something else,” he told the Los Angeles Times. “With the #MeToo movement, all of a sudden the sexist jokes everybody used to do, you can’t do anymore. So you either change with the times or you die. You adapt to the circumstances.” If Leno sees “somebody who’s really hurt by something I did, that’s not my job. The idea is to get them to laugh.”
It feels weird saying this, but: good job, Jay Leno!
Despite the fact that a lot of the chaos that initially erupted in Afghanistan can be traced back to Donald Trump’s now-disastrous deal with the Taliban, that hasn’t stopped his die-hard supporters from arguing that the former president would’ve handled the situation better. We’re talking about a guy who bungled the COVID vaccine rollout, which is way less complicated than withdrawing troops after a 20-year occupation.
Well, The Daily Show caught wind of the MAGA crowd’s latest assertion, and they fired a back with one hell of a January 6-themed comeback: “Donald Trump would have secured Kabul airport” — My dude he didn’t even secure the Capitol Building when his Vice President was in there.”
“Donald Trump would have secured Kabul airport” — My dude he didn’t even secure the Capitol Building when his Vice President was in there
While the situation in Afghanistan rapidly deteriorated after the Taliban seized power in under 24 hours (which Trump actually praised them for) despite most predictions having them regain power within a month, early media reports zeroed in on how badly the evacuation was going. While scenes of chaos were being reported, the Biden Administration was also evacuating people out in massive numbers. Was the withdrawal handled perfectly? No, of course not. But there was never going to be a “good way” to leave the country.
Still, Trump supporters (including Ted Cruz, who made remarks about how “America doesn’t leave Americans behind”) found fuel in blaming Biden for everything that goes wrong including. But like Trump just now, Cruz got roasted as his actions from earlier in the year came back to bite him in the butt. Namely, jetting off to Cancun while leaving behind his constituents who were literally freezing to death after a freak winter storm in Texas.
New music festivals pop up all the time, especially in California. One of the most promising to emerge over the past few years, though, is Head In The Clouds. 88Rising, the beloved record label and management company that is home to Asian and Asian-American artists, has hosted the event since 2018. After taking 2020 off for obvious reasons, the fest is returning this year, on November 6 and 7. While the event previously went down at Los Angeles State Historic Park, it now has a new home at the Rose Bowl in Pasadena.
With the new venue comes a hell of a lineup; Joji, Rich Brian, Niki, Saweetie, CL, Beabadoobee, Guapdad 4000, Japanese Breakfast, The Linda Lindas, and others highlight the bill. That’s quite the group of high achievers who have dominated the music landscape in their own ways recently: Saweetie is currently promoting her own McDonald’s meal, Japanese Breakfast’s Michelle Zauner is both a music favorite and a best-selling author, and Beabadoobee is one of the biggest rising heroes of indie rock (and the latest Uproxx cover star).
Aside from the level of success on the bill, the stylistic diversity of its artists is noteworthy. Ollie Zhang, 88Rising’s Chief Of Staff, tells Uproxx that this was very much intentional.
“I think that’s always been 88Rising’s mission from since the start, ever since we were just shooting videos and putting them up on YouTube,” he said. “The goal was always to highlight all different types of music. Asian music is so broad and diverse. Everyone’s coming from a different place and we want to be able to represent that on the stage as well. To have such a broad range of artists all sharing the same stage or same festival, I think, is totally an unprecedented thing anywhere in the world, not just in America.”
MADE WITH LOVE BY 88RISING PLEASE WELCOME 2021 HEAD IN THE CLOUDS LA LINEUP. GA + VIP TICKETS ON SALE TOMORROW AT NOON PST AT https://t.co/NZ2YI86eDR. More artist to lineup to be announced soon !!! pic.twitter.com/A2GfAISmvQ
Even beyond Head In The Clouds, Zhang says that while “there’s still so much road to cover” when it comes to Asian representation in the music landscape, he’s pleased with where things stand now: “I think that what this festival is now probably wouldn’t have existed and couldn’t have existed six years ago when we started the company.”
He continued, “You’ll be able to find an amazing artist who is Asian-American or from Asia that can speak to you and resonate with you, no matter what type of music that you’re into. I think that’s always been the case no matter what point of time you’ve been in, but I think that we’ve definitely been a part of the changing landscape and pushing those artists forward. I’m excited to see where everything goes in the next couple of years.”
Speaking of the near future and the potential thereof, Toronto multi-instrumentalist Luna Li is one of the up-and-comers on this year’s lineup Zhang is looking forward to seeing more. “When we first come across her, it was just her doing bedroom jams with harps and violin and all these different types of instruments,” he said. “I feel like she’s just a really cutting-edge artist that I’m excited to kind of watch her growth over the next couple of years.”
He also shouted out The Linda Lindas: “I think they’re just full of raucous energy and they obviously had a bit of a viral moment earlier in the year. Excited just to see the energy that they bring to the stage.”
While Head In The Clouds had to leave the stage in 2020, 88Rising thrived in the livestream space. Virtual events like the “Asia Rising Forever” festival (a benefit for Asian Americans Advancing Justice) and Joji’s “The Extravaganza” were “some of the best experiences that 88Rising ever produced,” Zhang said. While noting that in-person events and livestreams are “still pretty distinct mediums,” Zhang believes there are elements from the latter that can translate to the former, suggesting that the online stream of this year’s Head In The Clouds can be more than “just simply broadcasting the camera feed.”
While in-person concerts are coming back, though, it sounds like Zhang still sees the value in livestreams: “I think what we’ve learned is that the livestream concert has a ton of value and can be a really great way to present an artist that can be really different from what an in-person show is.”
Whether or not livestreams are a thing of the past for 88Rising, Head In The Clouds has become a big part of its future. The esteem the label has built for itself over the past few years has allowed this year’s lineup to be a truly exceptional showcase of both the best of 88Rising and of Asian music more broadly.
“I think that the lineup this year is really great and representative of the platform that 88Rising has become,” Zhang proclaimed. “I think it’s our best lineup yet and I’m excited to see it all take place.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish movies available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
It is time, apparently, once again, time for a new take on Cinderella, the classic story of a girl and her evil family and how magic and some rodents make her a star. This time around, we have Camilia Cabello in the lead role and Billy Porter as her fairy godparent and Idina Menzel as the evil stepmother and, look at that, Pierce Brosnan as the king. The whole thing basically puts a series of small twists on a story you’ve seen a few dozen times, but sometimes that’s okay. The cast is strong enough to make it all worth a shot. Watch it on Amazon.
It is time, once again, for a take on the Suicide Squad, the crew of DC villains who band together to cause chaos and/or save the day. This one is directed by Guardians of the Galaxy mastermind James Gunn and features everyone from Margot Robbie (as Harley Quinn, of course) to Idris Elba and Joel Kinnaman to Sylvester Stallone (as a giant talking CGI shark). It all looks weird and fun and kind of exactly what you need in a summer weekend movie. And then when you’re done you can click over and binge the Harley Quinn animated series on the same streaming service. Big weekend for you. Watch it on HBO Max.
It’s a hell of trick, the way Michael Keaton went from being just a little more alive and electric than everyone else on the screen to how he now fades into roles where he’s at the center of slow-burn David and Goliath stories that mythologize the dogged pursuit of justice. It’s like he pointed his jets inward to melt away any sense of movie star sparkle to become the son of Pittsburgh everyman that he was born to be. I expect we’ll see that in the upcoming Dopesick, we certainly saw it in Spotlight, and from the producers of that film comes this story about the effort to compensate the families of 9/11 victims and the fight to not have that effort lose the thread of empathy and respect when confronted by such titanic loss. Watch it on Netflix.
Some of us have been waiting an entire year to see a glowed-up Dev Patel play a troubled, handsomely rugged knight in this trippy take on an Arthurian legend, but now that The Green Knight is finally streaming everywhere … well, we all win. Patel plays Gawain, the film’s should-be hero who must fulfill an oath and face off against a myth-like creature who demands his head. Talking foxes, blood magic, and literal giants all pop up, inhabiting a mystical, terrifying, otherworldly landscape from the twisted, creative genius of director David Lowery. Find it on your VOD outlet of choice.
What we have here is a vacation romp featuring mismatched couples, one a party animal pair played by John Cena and Meredith Hagner, the other a more straightlaced duo played by Lil Rel Howery and Yvonne Orji. They’re all in Mexico. One assumes hijinks will ensue. Watch it on Hulu.
Stop us if you’ve heard this one before: A stand-up comedian (Adam Driver) and a world-famous opera singer (Marion Cotillard) have a child that turns out to be a wooden marionette doll, and the doll begins taunting them with its own singing voice after their marital problems lead to chaos. It sounds… weird. It sounds weird. There’s no way around that. But it does have an interesting cast and is getting solid reviews so maybe give it a run if you’re in the mood to have your mind bent a little. Watch it on Amazon.
Though the plot gets a bit convoluted in the second half of the movie, the dazzling, movie star-esque performances here by The Rock, Emily Blunt, and Jesse Plemons make this an entertaining movie well worth watching. Set in 1916, this movie about a race to be the first to get to a tree with magical healing powers has a distinct Indiana Jones/Raiders of the Lost Ark vibe to it. In fact, a couple of the scenes play like homages to those earlier films. And Jesse Plemons appears to be having the time of his life portraying the villain in this film, and who on God’s green Earth doesn’t love Jesse Plemons?! Watch it on Disney+.
In Beckett, John David Washington plays the title character, just a guy who is on vacation in Greece with his girlfriend (Alicia Vikander). After an automobile accident, during which Beckett sees someone he’s not supposed to see, he’s thrust into a game of espionage, intrigue, and geopolitical maneuvering that he never asked for. Director Ferdinando Cito Filomarino was heavily influenced by William Friedkin’s movies of the 1970s and he tries to recapture that here in a movie where, like the title character, we don’t really know what’s going on and there’s always a culpable sense of dread. Watch it on Netflix.
9. Bob Ross: Happy Accidents, Betrayal, and Greed (Netflix)
Netflix
Bob Ross is beloved worldwide for his landscapes and peaceful vibes, but this new Netflix documentary reveals that things weren’t all sunsets and smiles when it came to his fortune and estate. Money will do that, even when the money comes from someone as sweet as Bob Freakin’ Ross, apparently. Watch it on Netflix.
The last time Hugh Jackman and Rebecca Ferguson starred in a movie together, it was The Greatest Showman and it made $435 million at the box office. Reminiscence is being released on HBO Max the same day it comes out in theaters, so it won’t equal The Greatest Showman’s total gross. But the twisty thriller about nostalgia and lost love from Westworld co-creator Lisa Joy might make you say this is… what I’m watching tonight. Watch it on HBO Max.
The story of a young woman who is the only hearing person in her family, living with her deaf parents and deaf brother, became the it movie of this year’s Sundance. It’s fair to wonder if this actually does hurt a film, expectations-wise. But it didn’t hurt last year’s then-record holder Palm Springs. And the producers of CODA surely didn’t care while they count their money. What’s surprising about all of this is CODA isn’t a deeply profound film. It’s just a really funny, feel-good movie about nice people doing nice things. And maybe that’s kind of rare these days. Give it a shot to put you in a good mood. Watch it on Apple TV+.
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Joe Rogan has tested positive for 
Rogan, who was rebuked by federal officials last spring for suggesting that young healthy people don’t need vaccinations, now says that he started feeling sick after performing. 
