Month: October 2021

Back in the early aughts, Death Cab For Cutie was already doing things that no indie band would dream of, like covering Björk’s “All Is Full Of Love.” That cover came out on the Stability EP of bonus material from 2001’s breakthrough The Photo Album. Now, 20 years later, a deluxe 20th anniversary edition of The Photo Album, which includes with Stability in its whopping 35 total tracks, is on the way.

Out digitally on October 29th and then next spring on vinyl, the release also includes the remastered original album, previously unreleased tracks, B-sides, rare material, and all of the original demos. You can hear the demo for “Coney Island” above, which DCFC leader Ben Gibbard says was “very indicative of the process we were employing at that point, which was to deconstruct something and build it completely back up.”

Find the full tracklist and the band’s select tour dates below.

The Photo Album
1. “Steadier Footing”
2. “A Movie Script Ending”
3. “We Laugh Indoors”
4. “Information Travels Faster”
5. “Why You’d Want To Live Here”
6. “Blacking Out The Friction”
7. “I Was A Kaleidoscope”
8. “Styrofoam Plates”
9. “Coney Island”
10. “Debate Exposes Doubt”

The Stability EP
11. “20th Century Towers”
12. “All Is Full Of Love”
13. “Stability”

Rarities & Unreleased Recordings
14. “Gridlock Caravans”
15. “Information Travels Faster (Alternate Lyric Demo)”
16. “I Wanna Be Adored (Live)”
17. “I Was A Kaleidoscope (Live)”
18.”We Laugh Indoors (Dub)”
19.”Debate Exposes Doubt (Acoustic)”
20.”A Movie Script Ending (Acoustic)”
21. “I Was A Kaleidoscope (Acoustic, Live on KEXP)”
22.”Corny Island (Studio Outtake)”
23.”We Laugh Indoors (UK Single Mix)”

Band Demos
24. “Steadier Footing (Acoustic Studio Outtake)”
25. “A Movie Script Ending (Band Demo)”
26. “We Laugh Indoors (Band Demo)”
27. “Information Travels Faster (Band Demo)”
28. “Why You’d Want To Live Here (Band Demo)”
29. “Blacking Out The Friction (Band Demo)”
30. “I Was A Kaleidoscope (Band Demo)”
31. “Styrofoam Plates (Band Demo)”
32. “Coney Island (Band Demo)”
33. “Debate Exposes Doubt (Band Demo)”
34. “20th Century Towers (Band Demo)”
35. “Stable Song (Band Demo)”

10/20/2021 — Portland, OR @ Wonder Ballroom (All Ages)
10/21/2021 — Portland, OR @ Wonder Ballroom (21+)
10/23/2021 — Napa, CA @ Oxbow RiverStage *

* with Illuminati Hotties

The Photo Album (Deluxe Edition) is out digitally on 10/29 and on vinyl next spring via Barsuk. Pre-order it here.

Death Cab For Cutie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

When Moneybagg Yo dropped his new album A Gangsta’s Pain in April, one of the fan-favorite standout songs was the Jhene Aiko-featuring “One Of Dem Nights.” A marked departure from much of Moneybagg’s existing oeuvre, the smooth, R&B-flavored track found Moneybagg sharing his X-rated fantasies alongside the bell-voiced singer. Now, six months out from the song’s initial release, Moneybagg shares the well-suited video for “One Of Dem Nights,” which sees the rapper mugging next to the singer, who also appears in miniature sitting atop the stove and a shelf in the trap house.

“One Of Dem Nights,” along with other hits like “Time Today,” “Hard For The Next,” and “Wockesha,” helped propel Moneybagg’s fourth album to a No. 1 debut, then keep it atop the Billboard albums chart two weeks later, where it returned after a huge streaming week. In addition to his own well-received singles, the Memphis native secured a number of high-profile features with names like Belly (“Zero Love“) and Meek Mill (“Hot“).

Meanwhile, Jhene Aiko celebrated the 10th anniversary of her debut mixtape, Sailing Soul(s), in March, then poked her head out for features on Ty Dolla Sign’s “By Yourself” and Swae Lee’s “In The Dark” from Marvel’s Shang-Chi.

Watch the video for “One Of Dem Nights” above.

Justin Bieber has been riding high lately. Coming off the release of two back-to-back albums, last year’s Changes and this year’s Justice, released just a few months apart, the former child star is establishing himself as a pop force in a grown-up context. Though they’re drowning in new music, if there’s one thing Bieber fans want right now, it’s more live performances. Since the cancellation of his Purpose tour four years ago — due to mental health concerns — Justin has changed his lifestyle a lot, and he’s mostly stayed off stage in the process. But even without most of the live performances behind that album, Purpose marked a shift for Bieber’s sound, from collaborations with Jack Ü, Travis Scott, and Halsey, to a positive reevaluation from critics. This was no longer the troubled teen from the post-Believe years; off the strength of this album, Justin had a chance to transcend his past and become a real pop icon.

Things were dramatically shifting in his personal life, too. After he began dating Hailey Baldwin, and eventually got married, it seemed like Justin’s overall perspective on life improved drastically. As seen in the new Michael Ratner-directed documentary, Justin Bieber: Our World, the couple are very close, take walks together every morning, and seem to mutually understand the pressures they both face as celebrities who grew up in the public eye.

The bulk of Justin’s last two albums contain songs that are dedicated to, inspired by, or celebrate all that is Hailey, and even if not all of them hit, the ones that do have joined the upper echelon of his catalog. Though Changes and Justice weren’t widely celebrated as capital A albums, each yielded a handful of songs that quickly became fan favorites. So, now with three “adult” albums in his discography, a Bieber setlist in 2021 is stacked — arguably much more so than on the long-lost Purpose tour — and that’s exactly what motivated fans to come out and see him in droves this past weekend.

The Justin Bieber & Friends Weekender might’ve once been stereotyped as an event for young girls and hysterical, hormonal teens. Instead, last weekend’s shows were packed with young people, yes, but also adults, both men and women, eager to see one of the best pop stars of the moment. Friends texted me regret or jealousy that they couldn’t be at the show, and even other passerby’s in Vegas inquired about entry into the show — but no dice, it was long sold-out.

The Justin Bieber Weekender event was presented by Pollen, a destination-based music event company that offers travel arrangements and group payments as part of their service, effectively positioning themselves as a tech company. An artist like Justin Bieber is a no-brainer for these kinds of mini-festivals, which don’t require the commitment of a residency but still offer the air of exclusivity that a full-blown music festival provides. And, because of his recent lack of tour dates, it’s a subtle flex for both super fans and casual fans to catch him performing live.

With Bieber as the anchor, last Thursday night kicked off with an exclusive screening of the above-mentioned new doc, Justin Bieber: Our World, where a surprise IRL appearance from some of the show’s dancers and news about a potential baby Bieber had the crowd roaring with approval. Kehlani also performed a club set late that night (as in, 3 AM), and one of Justin’s most notable collaborators of late, The Kid Laroi — who is one half of his No. 1 hit single “Stay” — held down a raucous day party on Friday afternoon.

Other DJs and frequent Vegas fixtures like Dillon Francis, Marshmello, and Carnage filled out late-night slots throughout the weekend, including Marshmello taking the late shift on Saturday night after Bieber himself performed around 1 AM. But with all the performers curated by Bieber, and other special events like a full-on skate park at the off-strip entertainment haven, Area15, the weekend was more than just fans waiting around for Justin to hit the stage.

Like any successful event, music wasn’t the only thing on the schedule during the weekend. Up and comer/Bieber protege Eddie Benjamin performed while the skaters did their thing, and even if skating wasn’t appealing, the immersive experiences inside Area15 offered plenty to do in the meantime. Or, fans could use the time for snacks, digging into Korean chicken wings, corn dogs, double-stack burgers, or barbecue at The Beast restaurant by Todd English inside of Area15.

For those staying on-site at Encore by Wynn, a brand new coastal Mexican restaurant, Casa Playa, offered a more elevated dining experience. With good margaritas spiked with ancho reyes verde and cucumber, a whole of slew appetizers like queso fundido, black truffle tostadas, and blue shrimp ceviche, the only thing that topped the starters were massive mains. A shareable platter of carne asada, lobster, chorizo, and short rib was the perfect pre-concert food, and even The Chainsmokers, who’d performed at the hotel earlier in the day, sat down for dinner in a nearby private room.

Though Our World emphasizes how much time and effort went into Bieber’s 2020 NYE show, for most fans, a virtual show just doesn’t have the same appeal as an in-person event. And as one of a handful of shows Bieber has performed in 2021, Saturday night’s set was a glimpse at what an upcoming tour from the pop star will hold: All three Jack Ü hits from his Purpose era — “Where Are Ü Now,” “What Do You Mean,” and “Sorry” remain his current all-time bangers — the still-climbing remix of WizKid’s “Essence” featuring breakout star Tems, a couple song from his Journals era (“Confident” featuring and “All That Matters”), and a mix of the best cuts from his last two albums. Nothing at all from his pre-Purpose output is included in the present setlist aside from the two Journals songs, which is probably a wise move despite how much “Baby” would honestly go off if he ever wanted to throw it back in.

Strangely, he also opted not to perform “Stay” at all, suggesting The Kid Laroi didn’t have time to stick around for a guest appearance during Bieber’s set. He also opted not to include the feel-good wedding anthem “Holy,” or the Ariana Grande-featuring “Stuck With You,” and their lack felt like an oversight. But given a longer set time during a stadium tour, it seems likely both tracks (and potentially other more recent collaborations) would all make their way in.

As for stage presence, Justin wasn’t quite as sharp as he was for the NYE set, but snuck in some choreo here and there when it made sense, and had a strong camaraderie with his band that was incredibly fun to watch. In the future, it would be cool to see these events orchestrate some crossover between the rest of the lineup and the main artist performance, to help mimic festival appeal. But for a star who, just a few years ago, couldn’t even bear to perform, his weekend in Vegas felt like the beginning of an excellent reinvention. Keep the changes coming, Justin, we feel the shift.

Uproxx was hosted by Pollen for this story. However, they did not review or approve this story. You can read our press trip/hosting policy here.

Olivia Rodrigo recently sat down for a chat with Alanis Morissette, for Rolling Stone‘s current “Musicians On Musicians” series. The two are a natural pairing, given that they both started their careers as child actors before releasing massively successful debut albums (Morissette’s Jagged Little Pill was technically her third album, but it was her first to be released outside of Canada). That said, Sour and Jagged Little Pill had two very different releases, as Sour came out during the pandemic, when in-person promotional opportunities were few and far between.

However, that’s a process Rodrigo enjoyed, as she told Morissette, “I honestly loved it. I put out my first song, which did really well, and I didn’t expect any of that sort of success so early on. I think had I not just been doing the same thing that I had always been doing and writing songs in my bedroom, maybe I would have gotten a little more in my head about it than I did.”

Rodrigo also noted how her ascent to global superstardom felt quick: “We had a similar experience, where we had a really successful debut album, which is weird. At least for me, it felt super-quick. It felt overnight, and I’ve been working and writing songs since I was five years old. It definitely wasn’t overnight. But the ‘I’m writing songs in my bedroom’ to ‘Oh, my gosh, lots of people know this song’ was really quick for me. I feel obviously so lucky, but sometimes it just feels like it doesn’t have to do with me.”

Check out the full conversation here.

Snail Mail, the indie band formed by 22-year-old songwriter Lindsey Jordan, recently ushered in a new era of music with the dynamic single “Valentine” and officially announced a new album of the same name. Now giving another preview of the LP, which is set a for an early November release, Jordan shares a visual for her vibrant track “Ben Franklin.”

Directed by Josh Coll, the visual sees Jordan as an unhappy house wife in a posh East Coast mansion. But eventually, Jordan finds her way to joy with the help of some cathartic dance moves and an adorable puppy.

Prior to announcing Valentine, Jordan was keeping relatively out of the public eye. Her social media pages were run by her team and she stayed out of press. A line in “Ben Franklin” reveals her absence was due to a stint in a rehab center in Arizona, which she checked into at the end of last year.

Jordan spoke about her decision to address her rehab stint in “Ben Franklin” in a recent cover interview with NME. The singer said she was at first hesitant to publicize it, but then said it was such a “life-altering” moment for her that she couldn’t help but sing about it:

“When I left rehab, I was like, ‘There’s no way I’m going to talk about this, and there’s no way I’m going to write about it, ’cause it’s nobody’s business. But when I was writing [‘Ben Franklin’], I was like, I don’t really want to write about crushing sadness in a melodramatic way like I usually do. I want to talk about things in a way that’s almost casually throwing some crazy sh*t out into the mix. I was sitting there with my notebook, and I was like, ‘I’m going to do it.’ At the time, I still didn’t have most of the album so I was like: ‘That’s future me’s problem.’ […] It’s hard. A lot of people in my life are like, ‘Oh, you did that – you put that in the song, huh?’ It’s not necessarily something I want to advertise about myself, but I kind of just… couldn’t really help it. It was such a monumental thing for me, and such a monumental switch-around. My personality is different now, for better in a lot of ways, but also… that kind of thing is its own trauma, you know? It’s really life-altering and I couldn’t ignore how that affected my music and me, and how I think about things.”

Watch the “Ben Franklin” video above.

Valentine is out 11/5 via Matador Records. Pre-order it here.

One of the most profitable video game series in the world is EA Sports’ FIFA franchise. The gaming giant has been making simulation soccer games with FIFA’s name and branding since the 1990’s, and as the sport’s popularity increased in the United States, so did the video game series. Of course, with popularity comes profits, and with profits come new contracts.

According to a report from the New York Times, EA and FIFA are struggling to come to an agreement on the details of their next contract. The main disagreement is that FIFA’s value is growing from EA’s hit franchise, and as a result, the organization wants EA to pay out more money for using its name and brand. EA, on the other hand, wants the freedom to do more with the franchise beyond just simulation sports games.

The core of the dispute is financial. FIFA is seeking more than double what it currently receives from EA Sports, according to people with knowledge of the talks, a figure that would increase its payout from the series to more than $1 billion for each four-year World Cup cycle.
…

FIFA would prefer to limit EA’s exclusivity to the narrow parameters around use in a soccer game, most likely in an effort to seek new revenue streams for the rights it would retain. EA Sports, meanwhile, contends the company should be allowed to explore other ventures within its FIFA video game ecosystem, including highlights of actual games, arena video game tournaments and digital products like NFTs.

According to the report, FIFA currently values its license with EA somewhere close to $150 million. This is FIFA’s “single-most valuable commercial agreement.” In other words, this would be a huge loss for FIFA if EA can successfully turn the series into a new brand. The scary part for FIFA, of course, is that there’s really no reason EA can’t do this. The biggest competitor to EA over the years has been Konami’s Pro Evolution Soccer series, which has always managed to find ways to include many of the world’s official brand names in its own games. That theoretically means EA could do the same.

EA also has the opportunity to set a precedent with its sports titles where it’s no longer associated with a major organization, such as FIFA, and is instead just an EA property that goes straight to the source. We’re seeing EA do this right now with college football — it has removed itself from most of the NCAA in the upcoming EA Sports College Football series. With the company considering renaming the series “EA Sports FC,” maybe this is what they really want: not being attached to other organizations with their sports titles.

David Gordon Green seems to have fun with these new Halloween movies. How else can it be explained why else he’d put all three Silver Shamrock masks from Halloween III: Season of the Witch in his new installment of the Michael Myers saga, Halloween Kills. (It’s funny, because I couldn’t quite make out the logo in the movie of the mask manufacturer, and Green seemed almost offended when I assumed it wouldn’t be from the fine folks at Silver Shamrock. Which kind of tells me Green has more in store for this story-line down the road. Also, if you don’t know the plot of Halloween III: Season of the Witch, well, there’s no way I could even begin to start explaining it here without using at least another 10,000 words.)

In Halloween Kills, we pick off right where Greens’ 2018 Halloween leaves off. And wouldn’t you know it, Michael Myers is still not dead. (It’s starting to feel like Michael will just never learn.) But, ahead, we get into what’s canon from the original movies, what isn’t and why some things Green wanted to use aren’t allowed. (Most having to do with different studios own different movies.) And I make a pitch to Green that both Halloween II and Halloween III should be considered canon again.

Also, Green gives tells us about the next and final Halloween movie in his trilogy, Halloween Ends, and how it will incorporate real world events into its plot.

You know that pointing DiCaprio/Rick Dalton meme? I did that when the Halloween III: Season of the Witch masks show up in this.

Right on. Yeah, a few Easter eggs in there for you.

I just talked to John Carpenter and he had no idea what I was talking about. But people like that movie a lot now. Have you noticed this?

I have. I think it’s aged well. I mean, I think that’s the beauty of this franchise in its whole. People will come to me and say, “Well, why did you not include the narrative of Halloween II? Or that an amazing ending in Halloween IV?” And so, there’s just also so much dialogue in the pros and cons of the franchise as a whole. I love the conversation about it. And Season of the Witch is one that I feel personally is an underappreciated installment, but it’s a little bit of a detour. But I like what they were doing with it. And maybe someone will dust that off and remake that someday.

So in the next one, you’re telling me Dr. Dan Challis is going to show up.

[Laughs] He’s going to show up. I mean, but there are so many ways you could take it. It is a tricky job in the writing of it, because there are certain things you’re drawn to do. But, also, a lot of these films have different rights holders. So there are different things you can and can’t do legally. And so you have your creative toolbox, come up with all the ideas, and then you have to propose it to the legal department. “Can I bring this character back? Who owns that? Is this a subplot that we could include or not?” It was certainly a creative choice to exclude most of the narrative of the franchise, but it significantly simplified the legality of it. And whenever I’ve tried to reach into some of the moments that I appreciate from the others, I always get the no-no.

So here, right now, I feel I can convince you that you will announce that Season of the Witch is canon. There’s a scene in Season of the Witch where Dr. Dan Challis is at the bar and he’s watching Halloween on TV. So in his world, Halloween is a movie. So in the world of Season of the Witch, he’s watching Halloween Kills, just like he watched Halloween.

I love that. Yeah, I could buy that.

But then again, the Season of the Witch masks show up in Halloween Kills. I’m assuming they’re not related to the fine folks at Silver Shamrock?

Why do you say that? Why wouldn’t they be Shamrock?

Are they?

They have the little tags on the back. Yeah.

Oh, they do? So they’ve got pieces of Stonehenge in there, waiting to go?

[Laughs] Yeah, it gets complicated.

Yes, it does.

There’s a lot of wormholes you can find yourself in.

That’s a good pun.

What?

Because of the bugs that come out of the masks…

Ah, there you go. Okay.

I thought that was on purpose.

Yeah, sometimes my subconscious is quicker than my mouth.

You mentioned Halloween II, and you’ve always said these movies are a direct continuation of the first Halloween. Though in your 2018 Halloween, you put in a line in there about Michael and Laurie, “I heard they were brother and sister.” Then the line, “No, someone made that up.” If I want to, personally, I think I could create a world where Halloween II still exists.

What do you mean?

Because you put the line in the 2018 Halloween dismissing the one big plot point from Halloween II you and John Carpenter don’t seem to like.

Oh, right.

So I can now watch Halloween II, going, “They’re just making the brother and sister part up.” And still, in my mind, consider it part of the canon.

You’re playing mind games here though, Mike. You’re getting pretty meta. But I think you could. I think you probably could.

You know why I’m getting meta? I watched a lot of ’70s and ’80s horror over the last 18 months. And I didn’t think I liked horror, but that brand of horror, it turns out, I like a lot. As opposed to the more modern jump-scare horror. And I know a lot of people who feel the same way.

Yeah, I’ve done a little bit of that. Re-watching The Stepfather, or re-watching Christine.

We just watched Christine again last week.

Oh, it’s so good. It holds up.

It does.

I think those films have a slower pace. They actually have character development. And they have things that are appealing to an audience that has more patience than, at least we claim, that an audience has today. So it is interesting to be a part of something that’s trying to honor that era. The original Halloween was in ’78. And in our Halloween Kills, we have these recreations that we’re trying to, technically, not just match the art direction of it, but match the lighting and match the camera intentions and the simplicity of editing. So everything was a lot more considered, I’d say, than your typical horror movie that’s coming out right now – that is more about getting to the immediate scare and don’t pause for much of anything. I do like making sure that I’m making a Halloween movie that is relevant to an audience today, but trying to appeal to myself as a film-goer that grew up in the ’80s, loving the pace and character of those film.

It’s funny, a lot of the people I know who are watching ’80s horror are in their 30s now. And these are people who are not horror fans, but really like this stuff. And the two you’ve done are resonating because they are capturing something that not many people do right now.

And it’s interesting. I just subscribed to Shudder for that reason. You get to see the chronology of technique and pace. And I feel… I don’t think it’s just the remake trends of some of these franchises, but I think people are considerate of movies they like and looking back in time of movies that inspired them.

You mentioned that scene where you tried to recreate the look of the original Halloween. I was actually sitting there going, “Is this from the original movie? Is this a cut scene? What am I watching here?” It took me a minute to realize this is new footage.

That’s amazing. Well, that’s the goal. And our art department was meticulous about the designs of this, and our DP spoke with Dean Cundey from the original film. We did our homework. And then even in our color correction, we really were trying to match the grain and to look, side by side, we had a high definition version of the original film. We’re really doing all we can to take care of it and take care of this title – take care of this franchise and have some fun with it.

So the third movie one, is it still going to jump ahead a little bit? Is this true? I think I read that.

Yeah. It jumps into a contemporary timeline. So we go from two episodes that are the same night in 2018. And then we’ll get up to speed with … It’ll take place the time of its release.

So do you incorporate things that have happened in the real world since then, like what we’re going through now? Would that be part of it?

Yeah.

I guess there are going to be more masks around.

So if you think about it, I mean, where we’re leaving these characters on Halloween 2018, the world is a different place. So not only do they have their immediate world affected by that trauma, having time to process that trauma – and that’s a specific and immediate traumatic event in the community of Haddonfield. But then they also had a worldwide pandemic and peculiar politics and another million things that turned their world upside down.

That’s what it will be called: Halloween: Peculiar Politics. There you go. You can have that one for free.

[Laughs] Yeah. Alliteration Kills.

‘Halloween Kills’ opens in theaters this weekend. You can contact Mike Ryan directly on Twitter.

Peter Jackson’s The Beatles: Get Back was announced in January 2019, exactly 50 years after John, Paul, George, and Ringo played on the rooftop of Apple Corps headquarters (“it’s been done”). It’s finally coming out next month, and on Wednesday, Disney+ released the first trailer for the three-part docuseries.

The Beatles: Get Back “showcases The Beatles’ creative process as they attempt to write 14 new songs in preparation for their first live concert in over two years. Faced with a nearly impossible deadline, the strong bonds of friendship shared by John Lennon, Paul McCartney, George Harrison, and Ringo Starr are put to the test.” No spoilers! The trailer features in-studio performances of “Don’t Let Me Down,” “I’ve Got a Feeling,” and “Get Back,” and SO many good outfits. I’m partial to Paul’s yellow sweater.

Here’s more:

The docuseries is compiled from nearly 60 hours of unseen footage shot over 21 days, directed by Michael Lindsay-Hogg in 1969, and from more than 150 hours of unheard audio, most of which has been locked in a vault for over half a century. Jackson is the only person in 50 years to have been given access to this Beatles treasure trove, all of which has now been brilliantly restored.

The Beatles: Get Back comes out over the course of three days, November 25, 26, and 27, on Disney+.

Hot on the heels of Larry David’s story about turning up at Jimmy Kimmel’s house, the curmudgeon is back for Curb Your Enthusiasm in the Season 11 trailer. And if we’ve ever needed some insight from the Seinfeld co-creator on the state of humanity, the time would be now (because of, obviously, humanity’s inept handling of the current global situation). As this new trailer shows, we’ll be soon seeing more of Vince Vaughn and Jon Hamm on Curb, and other guest stars on tap will include Carnage Woody Harrelson, Bill Hader, Kaley Cuoco, Patton Oswalt (whose ubiquity is only increasing, although I’m not sure how he finds the time), Tracey Ullman, and Lucy Liu. Oh hey there, goateed Seth Rogen, it’s nice to see you, too.

As Larry tells everyone in this trailer, “I hate people individually, but I love mankind.” Let that be a motto to us all. From HBO, here’s what we can expect from the new season (basically more of the same, thank god):

The comedy series continues to prove how seemingly trivial details of one’s day-to-day life – a cold cup of coffee, a stained shirt, a missing toothbrush 0 can precipitate a catastrophic chain of events. To keep the narrative spontaneous, the series is shot without a script and cast members are given scene outlines and improvise lines as they go.

Curb Your Enthusiasm returns on October 24.

After making its debut during Thanksgiving 2020, the new Saved By The Bell series is coming back for a second season just in time for this year’s Turkey Day. Peacock announced Season 2 in a new trailer that will bring everyone up to speed before unveiling what’s in store for both the old and new Bayside crews.

While it’s easy to dismiss Saved By The Bell as just another show milking ’90s nostalgia, it’s actually a freaking hilarious update on the classic series thanks to showrunner Tracey Wigfield, who was behind the absolute comedy gem, Great News. The new cast is great, and returning actors like Mario Lopez, Elizabeth Berkley, and Mark-Paul Gosselaar are amazingly game for putting a modern comedic spin on their old squeaky clean show. (Lopez as a weird and creepy Slater, who means well, is definitely a highlight.)

Here’s the official synopsis:

In Season 2 of Peacock’s hit comedy Saved By The Bell, Bayside High gears up to compete in the Southern California School Spirit Competition. Daisy is determined not to get sidetracked by “Bayside nonsense,” but when a cute new student is elected student council VP, she finds herself in way over her head. Mac sees the competition as a way to finally step out from his father’s shadow. Jamie leans on Lexi in the wake of his parents’ divorce while Lexi struggles to be a more understanding girlfriend; Aisha seeks a new outlet after football is canceled; DeVante finds love with a rich Bayside girl, and Slater and a newly single Jessie grow closer despite their tumultuous romantic past.

Saved By The Bell Season 2 starts streaming on November 24 on Peacock.