Month: October 2021

Is it time for one last job for Marty Byrde? A better question: will he actually get his originally-intended job done? God only knows, and god help Wendy and Ruth, so let’s all salute her “I don’t know sh*t about f*ck” before the super-sized final Ozark season arrives. We’ve got a Season 4 teaser, which follows up on the blood-spattered tarmac happenings, as Marty meant to head toward Mexico. And it looks like he got there.

In other words, Marty Byrde’s back for one more play (and he’s in a heap of sh*t, as usual) after the third season lit his money-laundering world on fire. He obviously survived the mess, and Wendy went with him, meaning that she didn’t take the family and didn’t run, and we don’t get to see Julia Garner’s fan-favorite Ruth Langmore here, but we do get to hear her wondering if death would be a better option. That’s a fair question, but before we receive the answer, I want to see a capsule episode where Ruth tosses everyone off a casino boat. Make it happen.

Notably, we’re reminded here of “a beginning,” which is a direct callback to Navarro’s “today is a beginning” from the Season 3 finale after Helen takes a gunshot to the head. That truly shocking cliffhanger looks to lead directly into what we’re seeing above.

All of the show’s characters might feel like Ruth does before this show is over, but fortunately for the show’s fans, the season will contain 14 episodes, which will launch in two seven-part halves, so we might as well pretend that we’re getting five seasons. And boy, Jason Bateman has been ready to do this thing. Last summer, he declared in a statement, “I’m excited to end with a bang(s),” so I’ll (perhaps unrightfully) assume that he’s good with my multi-season mindset. Surely, he won’t mind.

Ozark will return on January 21, 2022.

Coldplay and BTS’ “My Universe” is the collaboration highlight of Coldplay’s new album Music Of The Spheres, but it’s not the only major one, as Selena Gomez also makes an appearance, on “Let Somebody Go.” Last night, Coldplay and Gomez gave their debut performance of the grand ballad on The Late Late Show, with Gomez joining the band in studio.

Chris Martin previously said of the song, “It’s just a really lovely ballad. And quite early on we realized it needed a female counterpart to the vocal. And we were very grateful that when we asked Selena to sing on it, she loved the song and was happy to do so. Collaborations in general are something that we’ve done more of recently. We never really used to do it before. When we were younger, we kind of locked ourselves in a room and felt we had to prove everything ourselves. But I think as time has gone on, it’s become more interesting for us to work with other people from different parts of the world, different genres. It just adds color and character to the music.”

Watch Coldplay and Gomez perform “Let Somebody Go” above.

Music Of The Spheres is out now via Parlophone. Get it here.

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

Think of the top scorers from last year’s regular season. Guys like Kevin Durant, Stephen Curry, Nikola Jokic and Joel Embiid enter the conversation. They’re all, roughly, in their primes. Durant and Curry are 33 years old. Embiid is 27. Jokic is 26. Toss in 31-year-old Damian Lillard, 26-year-old Zach LaVine and 26-year-old Giannis Antetokounmpo if you wish. The premise isn’t threatened.

Another name belongs among the game’s most prolific scorers, someone who does threaten the premise: 21-year-old Zion Williamson. As a sophomore, Zion averaged 27.0 points on 64.9 percent true shooting, despite insufficient spacing and guard creation around him. He’s my choice to be the first player in NBA history to register at least 30 points per game on 70 percent true shooting — benefitting in part from the league-wide boon in scoring efficiency, but also making waves because he’s freaking awesome.

Forty-three players averaged at least 20 points last season. Only Durant (66.6 percent) and Curry (65.5 percent) posted better true shooting marks than Zion. Pretty esteemed company, I suppose. His career is barely off the ground and he’s already rivaling all-time greats as a scorer. That is rare. Do not brush it aside. Revel in it. Deprioritize your concerns of him.

And yet, so much of the discourse surrounding Zion seems to hyperfixate on who he isn’t or where he lacks. The fretting over his health and defensive warts strikes me as a counter to the swell of atypical hype he received as a prospect. As if the dude who was a top-20 player and All-NBA-caliber star at 20 years old is somehow falling short of expectations.

There’s no denying his defense is unsatisfactory. He improved for stretches last year, but he remains an inattentive weakside helper and frequently opens the floodgates in ball-screens, among other deficiencies. Set to miss at least a portion of 2021-22 with a right foot injury and having been sidelined for 48 games as a rookie, it’d obviously be ideal to see him play more.

Yet too often, I see those talking points dominate conversations involving Zion or constantly surface when he is complimented. He’s a budding elite offensive engine. When healthy, he’s going to spearhead one of the NBA’s most fearsome offenses this season. In an era where everyone wants to gravitate beyond the arc, he mauls his way to the rim 15 times per game, which is, at worst, as valuable and efficient a means of scoring as the three-ball — despite what people who misinterpret or misunderstand the message behind analytically inclined scoring profiles implore.

I also don’t deem the widespread criticism of his dietary and training regimens from people who aren’t privy to those habits as appropriate. Zion is not alone in such concerns either. Other superstars like Nikola Jokic and Joel Embiid have received similar vitriol or critiques about their physique and diets from people who are by no means in tune with those aspects of one’s life. It shouldn’t be confined to superstars either. Any athlete — any human — should be free of these developments.

Specifically for Zion, and beyond what I think is necessary to respect one’s humanity, there are just vastly more exciting aspects of his basketball stardom to discuss and enjoy than lasering in on his defense or your unfounded claims about his diet and training. Basketball is fun, and few players embody that better than Zion.

He’s growing as a passer. His finishing creativity is exquisite and he swiftly teleports through cramped windows of space like a slippery 6’1” guard, not the 6’6’, 285-pound bruiser he is. Watching him navigate the newfound rigors of primary initiation bred from his role shift early in the season was fascinating.

He reduces hulking centers akin to overqualified perimeter players around the basket and is routinely impervious to help defenders. His offensive motor is unrelenting. He had a 23-game stretch averaging 29-7-4-1-1 on 66 percent shooting last season, which, somehow, hardly deviates from his yearlong performance. Stupefying.

His personality is equally splendid as the on-court product. He is candid and refreshing, a contagious smile or chuckle always a word or moment away. He carries himself as though all of these experiences are fleeting and surreal. As though he has not earned them through his unbridled talent and work ethic. As though he remains unaccustomed to the fanfare and praise, and is mystified that it’s directed entirely his way.

He carries himself like he’s 21, because he is. And already, he is a superstar, one we must appreciate more, tone down the ire toward and worry less about his future when the present is unabashedly incredible for so many reasons.

This week in pop music saw some anticipated singles from today’s biggest pop stars. Adele officially returned to the spotlight with her new ballad, Coldplay dropped their latest album, and Latin pop star Anitta teamed up with Saweetie for a sizzling tune.

Each week, Uproxx rounds up the best new pop music. Listen up.

Adele — “Easy On Me”

After taking a few years off of music to focus on her personal life, Adele returned this week with “Easy On Me,” her first new music in nearly six years. The soaring piano ballad showcases the singer’s signature powerhouse vocals and arrives on her upcoming divorce album 30, which is a reflection on all the changes she’s recently made in her life.

Anitta, Saweetie — “Faking Love”

With their new joint single “Faking Love,” Brazilian pop singer Anitta and Saweetie prove they’re a force to be reckoned with. The dancefloor-ready track opens with a sparse, clapping beat before adding a delicious beat drop, showcasing Saweetie’s versatile flow and Anitta’s energetic songwriting.

Coldplay — “Let Somebody Go” Feat. Selena Gomez

Coldplay dropped their anticipated album Music Of The Spheres this week, which included the Selena Gomez track “Let Somebody Go.” Unlike a lot of the singles Coldplay released for this album cycle, “Let Somebody Go” is reminiscent of the band’s early discography, delivering a reflective ballad about knowing when it’s time to move on from a relationship.

Finneas — “Love Is Pain”

After weeks of teasing, Finneas dropped his debut album Optimist this week. The 13-track effort includes the loungey song “Love Is Pain,” a tender reflection on the highs and lows of love. “It’s about how painful and heartbreaking love is,” Finneas said about the track. “I wanted to write a song about an adult relationship. The more you love someone, the more they have the capacity to cause you heartbreak.”

Lauren Jauregui — “Scattered” Feat. Vic Mensa

After starting out her debut project’s rollout with a bristling ballad, Lauren Jauregui showcases her impressive vocal range with the jazzy tune “Scattered.” The eerie single gets real about having a bad day, and Vic Mensa’s guest feature adds some clever verses about getting through a depressive episode. “I’ve come to realize that when I speak about the myriad of mental issues I go through, and speak about them honestly and with no short-cuts, not only is it a catharsis for me,” Mensa said about the collaboration. “It’s also valuable for the world because so many people are going through the same manifestations.”

Kali Uchis — “If It’s To Be”

After seeing her 2020 album Sin Miedo (Del Amor Y Otros Demonios) get a major uptick in streams thanks to TikTok, Kali Uchis returns with a brand-new single. Her track “If It’s To Be” doesn’t mark a new project, however. Instead it appears on the soundtrack to Netflix’s upcoming animated film Maya And The Three. The rhythmic track draws influences from Latin music and features Uchis’ recognizable, honeyed voice as she sings of leaving things up to chance.

Remi Wolf — “WYD”

Eccentric pop star Remi Wolf dropped her debut album Juno this week after making a name for herself with her previous EPs. The album’s track “WYD” showcases the entire album’s upbeat playfulness as Wolf sings of dispelling energy vampires over a shuffling and sparkling beat.

Noa Kirel — “Bad Little Thing”

With first English-language single, Israeli-born pop singer Noa Kirel delivers the swaggering tune “Bad Little Thing.” The irresistible tune proves her pop star status as she sings of having a partner wrapped around her finger over a revved-up beat.

Chelsea Cutler — “Forever”

Platinum-certified songwriter Chelsea Cutler was another pop star who released an album this week. Her captivating sophomore effort When I Close My Eyes debuted with the snappy track “Forever,” a song that highlights Cutler’s relatable songwriting and luscious voice.

Rence — “Track Shoes”

Pop newcomer Rence expanded his catalog with the effortlessly catchy track “Track Shoes” this week. With his breathy lyrical delivery and a disco-twinged beat, Rence proves he’s well on his way to stardom. “The song is about processing the complexities of breaking up with someone, but still caring about their heart and well-being,” Rence said about ‘Track Shoes.’ “It will always sting to hear that someone I used to care so much about is going through a hard time, even if it is completely unrelated to me. That’s how I love.”

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

It has, somehow, been 30 years since the release of Barry Sonnenfeld’s The Addams Family. What became a massive hit seemed anything but during the production. What started out at Orion was sold to Paramount before filming had even completed, then, according to Sonnenfeld, the person at Paramount who bought the movie was fired later that same day. So here’s this weird movie, based on a quirky television show from 25 years before, that the studio that owned it didn’t even really want, being directed by a guy who had never directed a movie before. The Addams Family would go on to gross just under $200 million worldwide and became one of the highest grossing movies of 1991.

Before The Addams Family, Sonnenfeld had been the cinematographer on some huge films – Big, Misery, When Harry Met Sally – but it’s still a little bit shocking that The Addams Family was his first time as director, and only a few years away from the even more massive success he’d achieve with his Men in Black movies. Ahead (with the release of a new 4K print, which includes an extended cut of the film), Sonnenfeld looks back on his directorial debut, which sounds like a fraught experience. Sonnenfeld also discusses his ill-fated pilot for what supposed to be a Beverly Hills Cop television series. Sonnenfeld says what they shot was good (it’s still never been released), but why did it never make it to air? His best guess sounds like it basically comes down to “spite.”

There are a lot more characters listening to MC Hammer in this movie than I remember…

MC Hammer wrote a great song for us, actually! I really liked it.

“Addams Groove.” That was a big hit.

Yeah!

The other part I forgot about was when Gomez is playing with his toy train, there’s a passenger on the train and I looked it up and that’s you.

I wanted to find places where I could do a filmic version of some of Charles Addams famous cartoons. And one of his cartoons shows a person on a commuter train and he looks out the window and he sees some guy with a Lionel set. And I just love how Charles Addams always played with layers of information. And how surreal his stuff was. So, that was taken right out of a Charles Addams image.

The opening shot with the carolers and we boom up and we see the Addams family on the roof with a cauldron of boiling tar or oil or something? That was also a Charles Addams cartoon. There’s another moment where Fester is on the phone to his mother and Pugsley is in the background and Wednesday is tied to a chair and Pugsley brings Fester some poison to choose…

He chooses the arsenic, I believe.

That’s right! Arsenic. Well, they’re all based on Charles Addams drawings, so there’s that.

It’s surprising this is your directorial debut.

Because it feels like not a freshman director? Or why?

I get that you shot some of the most famous movies made – and Three O’Clock High, one of my favorites – but it’s this big movie with IP involved that made a lot of money.

You know, it’s funny. I was very happy being a cinematographer. As you stated, I shot the first three Coen Brothers movies, Three O’Clock High, Throw Mama From the Train, Big, When Harry Met Sally, Misery, so I was really happy being a cinematographer. I wasn’t looking to be a director. But Scott Rudin, who was a producer of the show, sent me the script. He tried to get Terry Gilliam and Tim Burton to direct Addams Family. And when both of those directors passed, he decided that he’d rather have a visual stylist because he felt The Addams Family, correctly, needed a certain visual style as opposed to just going to a comedy director. Because most comedies, for some reason, and I’m one of the exceptions, tend to have no visual style. They tend to be funny screenplays, but Addams Family really needed a very strong visual style. And that’s why I’m so glad we put all of “The Mamushka,” because it’s such a great song and dance number and Raul Julia is so good in it.

I want to talk about Raul Julia a little bit just because when I first saw this I wasn’t watching Kiss of the Spider Woman or The Morning After when was in 10th grade. Was he always the first choice? Because it seems like a brave choice to put someone who’s not known to maybe the target demographic as the main character?

We started at Orion Pictures and we were able to convince Orion early on because they really wanted Cher to be the female lead, to play Morticia.

That makes sense.

Yeah, you can see it. But in any case, we were able to convince Orion that we didn’t want movie stars. That the IP, the Charles Addams of it all, was the star. And that a real name, a big name, would just get in the way and would bring their own historical baggage with them. So, we really wanted non-stars. We were very quickly able to convince Orion to go with Raul and Angelica because they agreed that The Addams Family was going to be the star, the concept, and that we didn’t need stars or star salaries for that. What happened halfway through the movie, Orion was going bankrupt and we were the most saleable piece of IP they had. So, halfway through the movie we were sold to Paramount. And because Paramount bought something that was in progress, they had much less say. In fact, they bought it Friday morning and that afternoon the person who bought it got fired and the new person came in and hated our dailies.

What? Really?

Yeah.

Wait a second. So the person who bought The Addams Family got fired…

Not because of the movie…

But the same day?

The same day. Yeah. So now we’re at a studio that didn’t want us. So that was hard. That was very, very, very hard. But we got through it. And then after we finished, the marketing and distribution people loved the movie so much. They did a fantastic job. They were the ones that said, “We’ll give you more money if you can get MC Hammer to write that end credit song,’ because they really felt it was going to be value-added in marketing and distributing the song. So, they were great.

That song was everywhere.

No, he was great. A lovely guy. Lovely guy.

With all that going on, how’d you even keep morale up on set?

Well, I think we kept some of that secret from the actors. It’s funny. It started to get word-of-mouth before we came out and the industry had been going through a slump, which they do from time to time. But suddenly people were talking about The Addams Family and that it was going to be a hit. And they were predicting a $12 million opening weekend which, at the time, would have been a very big opening, 30 years ago. And our opening weekend was actually more than double that, so it was shocking how that happened. It was really amazing.

Was the ending a re-shoot? The whole movie Christopher Lloyd’s Fester is an imposter, but then in the last scene it’s explained it was actually Fester all along…

No, there was no re-shoot. Though the original ending had Fester still being an imposter. And Gomez saying, “You know what? You out-Festered Fester. And family is a state of mind and not biology. You’re the new Fester.” And at the table read, the cast rebelled. They hated that ending. And they went off into a corner and made Christina Ricci the spokesperson for them. She was probably nine at the time. And Christina came back and said to Paul Rudnick, the writer, and myself and the producer and said, ”This can’t work. The audience will be emotionally disappointed. They’ll wonder why Gomez worried about Fester for all these decades and then just doesn’t think about him anymore because he likes this guy. It’s an intellectual ending, not an emotional ending.” And she convinced us. We realized, “Oh, jeez. Maybe she’s right.” Paul Rudnick did a re-write. But that was not a re-shoot and when we first started to shoot, that was already in there. It might be slightly abrupt.

Maybe that’s the word I should have used, abrupt.

Right. That whole ending with hurricane Irene and Tully and Fester’s mother being thrown out the window? We were out of time, out of money, and Paramount was out of patience. And all that came together very quickly, so we didn’t have enough money or time to shoot that ending as properly as I would have liked to. So, that might be part of it, what you’re also experiencing.

You directed the pilot for the Beverly Hills Cop television series that wasn’t picked up. I’m curious if it would have had a better shot with the current streaming landscape.

Yes and no. The pilot was really good and I really enjoyed working with Eddie Murphy. There were two issues. The pilot wasn’t really about Eddie Murphy’s character, although he’s in it. And he’s really funny and really good. But it’s about Eddie Murphy’s son. But the other big issue, and I can’t say I know this for a fact, is the head of CBS was, oh, you know. What’s his name?

Les Moonves.

Les Moonves. And the head of Paramount, which was Tom Preston. But Les and Tom did not get along and Les, I think, wanted that job and Tom got it. Whatever. Somehow Les didn’t pick up that show in part because he didn’t want Tom to have that success. So there were internal politics involved. But the pilot was fantastic and I was really surprised that it didn’t get picked up.

You can contact Mike Ryan directly on Twitter.

If there’s one defining feature to Donald Trump‘s presidency, it’s that he bounced every Friday afternoon to go golfing at his personal resort in Florida, essentially funneling taxpayer money into his own business. So it was especially rich when Eric Trump appeared on Fox News on Monday to criticize Joe Biden for not spending enough time at the White House.

“Afghanistan is falling,” the young Trump said. “Guess what, you have President Biden, who is in Delaware, not solving the problem.”

Again, Eric’s attack on Biden was particularly ironic given the elder Trump’s long-standing reputation for golfing every weekend and spending the majority of his time in the White House shouting at the TV and eating fast food. Once video of Eric’s specious attack on Biden hit social media, the reactions were quick and fierce (as Aaron Rupar put it, “Irony is deader than dead”):

Now, has President Biden spent personal time with family on the weekends? Yes, of course. But there’s naturally a vast difference between an occasional car ride from Washington D.C. to nearby Delaware, and Trump’s weekly flights to Florida. And when it comes to golf, well, the numbers speak for themselves.

According to Business Insider, President Biden only golfed once during his first 100 days in office, and he waited 87 days before hitting the green. By contrast, Trump had gone golfing 19 times during his first 100 days, and he currently holds the record of the most golf trips taken by a commander in chief. Unless Tiger Woods becomes president, Trump will probably be sitting on that record for a long time.

(Via Aaron Rupar on Twitter)

Dave Grohl recently released his memoir The Storyteller: Tales Of Life And Music, and it’s doing quite well. In fact, it made the Foo Fighters leader a best-selling author, as the memoir currently sits atop the New York Times‘ Combined Print & E-Book Nonfiction best-seller list. Grohl guested on The Late Late Show yesterday and spoke about the book and how good it felt for him, a high school dropout, to show the book to his mother, who taught at the school that Grohl left.

James Corden asked Grohl who he was most excited to share the good news about his book with, and Grohl started by explaining the writing background of his family, saying, “Both of my parents were writers: My mother was a creative writing teacher, my father was a speechwriter and journalist in Washington, DC. So the written and spoken word was appreciated in our family.”

Grohl continued, “When I got my first copy of the book, I just kind of went to my mom’s house and dropped it in her lap and was just like, ‘Bam! Book drop!’ I mean, I dropped out of the high school she was a teacher at, so for me to be like, ‘What’s up, Mom? I got a book,’ it felt pretty good.”

Grohl dropped out of high school when he was 17 years old, making the choice because he had a major opportunity in front of him: to be the drummer of Washington DC punk group Scream. He was with the group for a few years before it disbanded, which led to him joining Nirvana.

Watch Grohl’s Late Late Show interview above.

When the Minnesota Timberwolves acquired D’Angelo Russell in February 2020, they did so under the belief he could be the perimeter complement to franchise cornerstone Karl-Anthony Towns. Russell is a good shooter and passer, and rostering someone who could conceivably ease the creation load for Towns made sense. Russell may not have been the most shrewd bet to fill that archetype, but it’s the direction Minnesota chose.

Since that trade, the Timberwolves have played 86 games. Towns and Russell have only suited up together for 25 of those contests. Further complicating matters is the selection of talented No. 1 pick Anthony Edwards, who, while years away from his prime, might actually project as the perimeter complement Minnesota idealized in Russell. Those three have only played 327 minutes together. Narrow the parameters down to minutes under head coach Chris Finch and that gets trimmed to 305.

Towns is a borderline superstar, one Minnesota should not and will not trade. Edwards enjoyed significant gains as his rookie season progressed and looks like he could be a devastating scorer relatively soon. He, too, is around for the long haul.

So, how does Russell slot in as the third member of this trio? Where does he discern his role after functioning as an on-ball creator for most of the last few years if the Timberwolves aim to continue refining Edwards’ handling chops? Edwards has reportedly appeared much improved defensively to open his sophomore year, but how tenable is a defense constructed around these three?

With improved health from Towns and Russell and another year of Edwards’ development, many of these variables can be addressed in 2021-22 — and the foundation was laid in some regards last season.

At least offensively, this group harmonizes pretty seamlessly. There were examples during the closing stretch of 2021 and in their 327 minutes together, Minnesota’s offensive rating was 120.9. The Russell-Towns pick-and-roll occupies defenses, while Edwards is an explosively canny cutter off the ball and budding spot-up threat. Yet there will also be times when Edwards commandeers possessions and slides Russell off the ball. Maintaining a quick trigger, zipping around off-ball screens and improving as an interior threat are the avenues to maximizing this role.

Both Edwards and Russell seemingly fit well alongside Towns. How those two pair together, though, is a bit murkier and probably forces Russell to make more concessions than Edwards. Whether it’s better applying his size at the point of attack to mitigate his lack of strength and lateral quickness or parlaying his playmaking intelligence into savvy off-ball reads, some sort of growth defensively feels imperative.

As they assimilate more on-court experience, the offense should progress. Edwards is a powerful slasher with a tenuous jumper. Russell is a versatile shooter and shaky driver. They can account for the other’s weaknesses offensively, while each fashions distinct, crafty two-man games with Towns.

Russell is important to this team’s success. How he stays healthy and navigates life around starkly different circumstances than the ones he first witnessed upon arrival in Minnesota will help determine what the interim and future shape up as for this franchise.

They say the best revenge is living well. And if that’s not possible, maybe it’s to sell off every personal memento you own from the person who wronged you in the first place. Now, we’re not saying that’s at all what Rudy Giuliani is doing, but if he were, it might be the smartest move he’s got. And that would explain how a very personal belonging of the embattled former New York City mayor ended up on the auction block. As People reports, a copy of Donald Trump’s 2000 book, The America We Deserve, autographed with a very personal message right around the time of the book’s release, would indicate that someone is looking to profit from these two dolts’ fractured relationship.

Last week, someone forked over a whopping $54,143 to purchase the keepsake, in which Donald wrote: “To Rudy — the best mayor N.Y.C. has ever had! I promise to never run against you.” At the time, Giuliani was indeed still New York City’s mayor. Whoever sold the book chose to do so anonymously.

It’s too bad that Trump didn’t add something like, “And I promise to never stiff you out of any legal bills,” as that might be something that could actually hold up in court and help Giuliani start to claw his way out of the financial mess he has found himself in as a result of pushing the “Big Lie” that the 2020 presidential election was rigged at the behest of Trump, his former client. (Then again, it has been reported that a slightly blitzed Rudy told Trump to declare victory on Election Night to begin with.)

The Donald-Rudy bromance seemed to start falling apart back in January 2021, when Trump was said to have been personally offended by Giuliani’s request for $20,000 per day to serve as Trump’s round-the-clock lawyer. So he instructed his people not to pay Rudy at all.

Meanwhile, Rudy continued to suffer embarrassment upon embarrassment, both while attempting to defend the president—the world will never forget the Four Seasons Total Landscaping debacle, or the fart heard round the world that Rudy let squeak out during a public hearing with Michigan lawmakers—and all on his own (two words: Borat sequel). In January 2021, Giuliani was sued for $1.3 billion (with a B) by Dominion Voting Systems for pushing election fraud conspiracies; in April, his apartment was raided by the Feds; in June, the state of New York suspended his law license and Washington, D.C. followed suit in July.

Though the bulk of Rudy’s problems arose from being one of the few people to remain loyal to Trump and to continue pushing his election fraud lies with a straight face, Team Trump reportedly didn’t see any way to give Giuliani money that wouldn’t look bad for them—so they hung him out to dry.

All of which is to say that while there’s no real evidence that confirms that Giuliani was the seller of this assumedly brilliant tome, if it indeed was him, it might the first smart thing he’s done since getting involved with Trump.

(Via People)

Lucille Ball lived a one-of-a-kind life. I Love Lucy is one of the most adored and influential sitcoms of all-time (it holds up shockingly well 60 years later), and the first television series to show an interracial couple. She was the first woman to run a major Hollywood studio, Desilu Productions. And as Nicole Kidman-as-Lucy says in the teaser trailer for Being the Ricardos below, she was the “biggest asset in the portfolio” of both the Columbia Broadcasting System and Philip Morris Tobacco Westinghouse.

Being the Ricardos is written and directed by Aaron Sorkin, who was drawn to Lucy and husband Desi Arnaz’s life story because “the only thing better than a story people don’t know is a story that people think they know but they’re wrong,” he told EW. “There were plenty of points of friction, and that’s what I look for when I want to tell a story. I had this structural idea that appealed to me. I like claustrophobic spaces; I like claustrophobic segments of time. So I thought if I could tell the story during one production week of I Love Lucy — Monday table read through Friday audience taping — and tell it mostly on that soundstage, that there might be something good there. So I tried writing it.”

Being the Ricardos, which also stars Javier Bardem as Desi Arnaz, J.K. Simmons as William Frawley, Nina Arianda as Vivian Vance, Tony Hale as Jess Oppenheimer, Alia Shawkat as Madelyn Pugh, hits Amazon Prime Video on December 21.