Patrick Beverley and Russell Westbrook have a history. Back in the 2013 playoffs, Beverley collided with Westbrook’s knee going for a steal that resulted in Westbrook tearing his meniscus. Westbrook was bracing for a timeout when Beverley made the play. Classifying it as unnecessary, at best, is justified.
Years later, Westbrook famously downplayed what Beverley does on the defensive end of the floor, saying in a post-game interview, “Pat Bev trick y’all, man, like he playing defense. He don’t guard nobody, man. It’s just running around, doing nothing.” Earlier this season, Beverley tweeted that Westbrook was “The Real Magician” amid the former MVP’s struggles.
More recently, Beverley appeared on The Old Man & The Three Podcast, where he discussed the longstanding rivalry between them. Specifically, he hit on the fall-out of Westbrook’s “trick y’all” comment from 2019.
“People looked at me differently, people around the NBA: coaches, players. After that, people were just taking the ball, going at me,” he said. “I’m like, ‘What the f*ck?’ All because of what one person said.
“People really looked at it like, ‘Yeah, maybe this motherf*cker don’t play defense. Only thing he does is run around.”
Beverley also said people would use his poor outings as vindication for Westbrook’s sentiment and called his tweet last month a “forgiven, but not forgotten type of thing.”
“He damaged my career,” Beverley said. “Coaching staffs and players, fans, they looked at me way different. … Some people still do.”
It’s nice to see that Pixar has finally made a movie about how the coming of a woman’s moon blood turns her into an uncontrollable beast, ruled by extreme emotion and immune to reason.
I kid, but only sort of. Turning Red takes the Teen Wolf formula of a werewolf-like curse as a metaphor for puberty and fuses it to the PEN15/The Sex Lives Of College Girls-style comedy about adolescent female sexuality — specifically for first-generation Asian women. Much like Maya Erskine plumbed conflict with her Japanese mother in PEN15 and Mindy Kaling mined her own Indian-American adolescence for The Sex Lives Of College Girls, Turning Red director Domee Shi explores her own coming-of-age in this lovingly-told tale of Chinese-Canadian mother-daughter conflict in what is arguably Pixar’s most personal story to date.
Turning Red stars Rosalie Chiang as the voice of Meilin, an overachieving, self-admittedly kind of obnoxious Toronto 13-year-old, who on the day of her first period turns into a giant red panda. Chiang is a Bay Area teen who was initially brought on just to do the temp track while they looked for a bigger star, but Pixar liked her work so much that they kept her, a nice story in itself. Meilin plays the flute, excels at math, and mostly strives to be a dutiful daughter, helping her mother, Ming (Sandra Oh) clean up and speak to visitors at the local temple, honoring some of her own ancestors.
Meilin has four best friends, Miriam, Priya, and the intensely grating Abby, a voluble-to-the-point-of-psychopathy girl in overalls who converses exclusively in angry-sounding shouts — all of whom are devoted fans of the boy band 4 Town, as well as the local heartthrob Devon, a squinty turd in a buckethead hat that the girls are inexplicably (even to themselves) in love with. Meilin frequently has to abandon the crew mid-adventure to keep from disappointing her demanding mother, which makes her friends lament, “She’s so brainwashed.”
Meilin’s mother herself also takes helicopter parenting to clinically demented levels, finding Meilin’s fantastical drawings of Devon and immediately confronting Devon with them, while her deathly embarrassed daughter looks on helpless. Shouldn’t CPS step in at this point, I wondered? Yet ironically, Ming is the only one who truly understands Meilin’s predicament, the family curse that turns them into massive fluffy pandas any time they experience extreme emotions.
Suffice it to say, Turning Red is the first Pixar movie to attempt to explore a girl’s first period, “the blooming of the red peony,” as Ming calls it. Director Domee Shi herself admits that it was “a weird pitch,” this magical period panda monster embodying its alter-ego’s most extreme (but also perhaps her most assertive, and possibly necessary) emotions. (Disney/Pixar was willing to take on periods and boy bands but stopped just short of the War on Terror, probably for the best).
Turning Red‘s weirdness is an integral element though because without it the film would probably too closely reflect its influences — PEN15, Teen Wolf, and Lady Bird. Like PEN15 and Lady Bird, Turning Red is even a period piece (STOP LAUGHING), though you might not notice that it’s meant to take place in 2002 if you hadn’t picked up on all the flip phones and Tamagotchi references.
Pixar movies aren’t usually this specific, and without Turning Red‘s specific Chineseness, its particular Canadianness, its especially fraught relationship between the protagonist and her near lunatic of a mother, its resolution would surely ring treacly or generic. Shi (along with her co-writers Julia Cho and Sarah Streicher) goes deeply personal, and this boldness seems also to have freed her to be even more fantastical, with a showdown between Stay Puft Marshmallow Man-sized red pandas and a climactic exorcism at a boy band concert. Red Panda‘s hyperspecificity makes it weird, and its unabashed weirdness makes it fun.
Soul took an equally big swing, but its attempt to find some all-encompassing statement about the nature of existence paradoxically made it feel creatively constrained, like a massive budget corporate spreadsheet about finding one’s bliss. Ironically few things turn a movie dull and esoteric like trying to be everything to everyone. Turning Red finds the universal through Shi’s specific story about trying to do right by her mother without losing herself in the process. It might not reach the heights of Coco or some of Pixar’s all-time bests, but, hey, that’s a high bar. Turning Red is fun and sweet and strange, and really, what more could you ask of it?
‘Turning Red’ premieres exclusively on Disney+ March 11th. Vince Mancini is on Twitter. More reviews here.
If we learned anything from artists like Neil Young, Joni Mitchell, India. Arie, and David Crosby pulling their music from Spotify last month in response to The Joe Rogan Experience’sracist undertones and vaccine misinformation, it’s that the move was an effective way to raise awareness to their causes. Now Pink Floyd and David Gilmour are following suit by pulling their music from digital music streaming services in Russia and Belarus in response to Russia’s invasion of Ukraine.
In a tweet posted to Pink Floyd’s account, which was subsequently re-tweeted by Gilmour, a message read, “To stand with the world in strongly condemning Russia’s invasion of Ukraine, the works of Pink Floyd, from 1987 onwards, and all of David Gilmour’s solo recordings are being removed from all digital music providers in Russia and Belarus from today.”
To stand with the world in strongly condemning Russia’s invasion of Ukraine, the works of Pink Floyd, from 1987 onwards, and all of David Gilmour’s solo recordings are being removed from all digital music providers in Russia and Belarus from today. pic.twitter.com/lTV7T3y29u
Gilmour, whose daughter-in-law is Ukrainian, first publicly voiced his stance on Russia’s invasion of Ukraine on March 1st, when he tweeted, “Russian soldiers, stop killing your brothers. There will be no winners in this war. My daughter-in-law is Ukrainian and my grand-daughters want to visit and know their beautiful country. Stop this before it is all destroyed. Putin must go.”
Russian soldiers, stop killing your brothers. There will be no winners in this war.
My daughter-in-law is Ukrainian and my grand-daughters want to visit and know their beautiful country. Stop this before it is all destroyed.
Pink Floyd’s A Momentary Lapse Of Reason came out in 1987, marking the first release from the band following a new contract with Columbia Records, instead of their previous releases on Harvest Records and others. It seems that it’s only albums following that transition that Gilmour has the legal power to pull from the streaming services in Russia and Belarus. Regardless, the point being made here by Gilmour and Pink Floyd is clear.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Getty Image/Ralph Ordaz / COIN/Degthai Street Food/Robert’s
If there’s one city that does live music right, it’s Nashville, Tennessee. While most people first think of good ol’ country songs, line dancing, and barbecue grub, the Southern city is also home to diverse music genres, eclectic food, and an iconic nightlife scenes.
Among the many bands calling Music City home, the alternative rock-pop trio COIN reps hard for their town. Bandmates Chase Lawrence, Ryan Winnen, and Joe Memmel — who will be releasing their new single “Brad Pitt” this Friday, the final release before their album Uncanny Valley drops on March 25th — were drawn to Nashville for not only its music scene, but also for its welcoming citizens, close proximity to nature, and acclaimed restaurants. Naturally, we had to ask them to create a guide to their adopted home for us.
If you’re in the market for great music, a lively atmosphere, and an enticing selection of cuisine, it might be time to book a flight to Nashville. Here’s where COIN recommends you stay, eat, party, and explore in the Music City.
Each of us moved to Nashville separately, for different reasons under the umbrella of wanting to pursue music — play a single show, write one EP worth of songs, start a band. We feel lucky to have met when we did, total kismet.
We’ve continued to base out of Nashville for the kind people, easy nature access, highly confused food scene, and diversity of music. Nashville has proved to be an ideal hybrid.
The Ryman
What’s one thing that every first-time visitor should see or do in Nashville?
There’s inexplicable energy in that building. We were fortunate to perform there last year, and it felt as though some spiritual entity of music history was giving us a pat on the back.
Where to get the absolute best Southern barbecue meal?
Hot take…and please forgive our pivot here…Whenever we’re finished at the studio for the day, in long rehearsals, or getting on the bus for the night, we order Thai curry from Deg Thai. The first time we had it, it reminded us of a Thai restaurant in Seattle that we often crave. The rest was history.
If barbecue is necessary, we’ve been into Central BBQ for the wings or Shotgun Willie’s (Texas BBQ, East Nashville). The most popular spots are good, but not the best bites we’ve had. Memphis, however…
Percy Warner or Beaman Park for choosing your own length and difficulty of hikes/walks, while still being 20 minutes or so from the city center.
Shelby Park is vast and paved, great for cycling and running.
We have some friends and family who have small sports boats, so occasionally we’ll go to Percy Priest Lake in the summer. If rentals are available, it would be mellow on a weekday. Weekends are a bit mad.
The Hermitage Hotel
Coolest hotel or place to stay?
There’s no shortage of hotels given the city’s growth. 21C, Noelle, Bobby Hotel, Virgin, Thompson, Urban Cowboy, The Hermitage Hotel is beautiful, there’s a Soho House now…However, while there are plenty of ~cool~ options, some of these locations can easily become stuffy on weekends with tourism. Nashville is a place where the charm of the city can be distorted by the wrong accommodations, so we typically tell friends to get an Airbnb in a neighborhood setting.
Yesterday, the world learned that Canadian hyper-pop singer Grimes had a second child with ex-boyfriend Elon Musk, in December. She also revealed information about her upcoming album and projects, but everyone was focused on the whole “second baby” thing.
Grimes (real name Claire Elise Boucher) confirmed that she and Musk are broken up, but still co-parenting and “best friends.” The internet was confused and intrigued, as they always are with Grimes and Musk, but that was quickly overshadowed by today’s news: that Grimes and Chelsea Manning are allegedly dating.
Consider the following evidence: Manning, known for her activism and whistleblowing, has been liking and replying to a series of tweets about Grimes. When streamer Hasan Piker asked if Grimes would come on their Twitch stream, Grimes responded that she kept postponing because she wasn’t in LA. Manning simply responded with “vouch” implying that the two were definitely in contact, and perhaps together when Grimes kept rescheduling.
While neither party has confirmed the news, a source has told Page Six that the two are getting serious and have “U-Hauled it” which is a common stereotype that basically means they moved in together after a short amount of time.
Grimes has been known for her, uh, confusing political stances, and on-again-off-again relationship with one of the richest men in the world. Manning has also been known for speaking out against politicians, so perhaps it will work? It’s all so very confusing. This is the world right now.
The singer has since tweeted that she won’t be doing any more traditional press as she wants her life to remain as private as it can, despite being associated with both a billionaire and a prominent social media activist. We must let her music speak for itself. Though nobody can really tell what that’s about, either.
Let’s get this out of the way: It looks Dune might be Dune it for a third time. (That was completely unavoidable. We’re so sorry.) While a sequel, Dune: Part Two, was confirmed in October and is reportedly looking to add Florence Pugh to the cast, screenwriter Jon Spaihts has revealed that he and director Denis Villeneuve have been “talking seriously” about a third film. In a new interview, Spaihts shared that the two are looking to adapt the second book in the Dune series, Dune: Messiah, as a potential conclusion to the film trilogy.
Dune Messiah is a very interesting book, which in some ways, deconstructs Dune and plays as a cautionary tale, even more than Dune does, about the dangers of blending religion and politics, the hazards of following charismatic leaders, and the dangerous struggle that’s always alive between the individual and institutions.
Of course, that still leaves five more books left to adapt, and according to Spaihts, the franchise is definitely looking to expand beyond more than just the planned HBO Max spinoff, Dune: The Sisterhood, and the potential Villeneuve trilogy. In fact, that expansion is the reason Spaihts is no longer working on Sisterhood.
“I ended up getting moved off of it to work, not just on Dune: Part Two, but to investigate other cinematic prospects in the Dune universe, which we are still talking about and which, again, I’m not allowed to say very much about,” Spaihts said. “But it is a very rich world in which to play.”
If you’re thinking we’re about to say, “Wow, let’s hope they’re not Dune too much here,” well, yeah. You can’t just expect us to ignore an obvious concern. That’s crazy talk.
Donald Trump‘s claims to understanding “The Art of the Deal” may be shaky, but he definitely has perfected “The Art of the Dodge.” In just the past 48 hours alone, he has abruptly sidestepped a conversation about the future of Ukraine to rant and rave about his well-known disdain for windmills. And when Sean Hannity gave the former president the chance to walk back all the glowing things he has had to say about Vladimir Putin over the years, Trump just changed the subject. Sort of.
As Raw Story reports, Trump called into Hannity’s show on Thursday night, where the Fox News host seemed desperate to help his pal re-gain some semblance of patriotism and admit that, yes, Russia’s unhinged president is indeed “evil.” In fact, Hannity put the question to him in such a way that all Trump needed to do was say “yes” or “no.” Instead, we got a whole lot of bullshit.
“You came under some fire when you said Vladimir Putin’s very smart,” Hannity said, winding up to give Trump a quick out. “I think I know you a little bit better than most people in the media, and I think you also recognize he’s evil, do you not?”
Trump’s response, however, sounded like it was the answer to an entirely different question:
“Well I was referring to the fact that he said this is an independent nation. This was before there was any attack! He’s calling it an independent nation! Now, a lot of things are changing, now look, this doesn’t seem to be the same Putin I was dealing with! But I will tell you, he wouldn’t have changed if I were dealing with him, he wouldn’t have changed!”
None of which is an answer to a very simple question. You can watch for yourself below:
Less than ten minutes into the first episode ofThe Dropout, an 18-year old Elizabeth Holmes dances to “I’m in a Hurry (And Don’t Know Why)” by Alabama in her bedroom. The dance begins innocently with the running man move, and a poster of Steve Jobs in between two Macbook desktop computers is in the frame. As Elizabeth starts dancing toward the Steve Jobs poster, her face tenses up, her eyes bulge, and her movements get slightly more seductive, creepy, almost sinister. Her eyes get even brighter and her mouth tenses up as she manically reaches toward Jobs with her hands. Every teenager has had a comparable experience, albeit in front of a sexier poster and to a sexier song. For me, it was a Josh Hartnett poster, and the song was probably by Britney Spears (and I was not thinking about an invention that would make me famous and simultaneously change the world). This scene establishes everything we need to know about Elizabeth Holmes at that moment and about who she will become: the Theranos CEO who would go on to defraud investors and lie to patients about their health for years. This moment represents actress Amanda Seyfried’s ability to capture Elizabeth Holmes’s peculiarity and her eerie, dangerous ambition to, in the words of Alabama, “get things done.” Seyfried’s performance in this scene is so much more than just a silly glimpse at the life of a nerdy teen in the early 2000s: it’s a portrait of a person who will do anything to emulate their hero.
Amanda Seyfried is one of the most underrated actors of her generation. Seyfried’s breakout role as Karen Smith, the simpleminded “Plastic” from 2004’s Mean Girls is still, after all this time, the role she is most associated with generally today. The role is synonymous with Seyfried for good reason. It is the best performance in the movie both for her physical comedy (“my breasts can tell when it’s already raining”) and for the way she says Taco Bell. Since Mean Girls, Seyfried has expanded her profile with a wide range of roles in a variety of projects with prominent filmmakers and writers including HBO’s family drama Big Love, a lead in Diablo Cody’s Jennifer’s Body, Cosette in Tom Hooper’s Les Miserables (one of the film’s only good performances) and a major role in 2008’s Mamma Mia and the 2018 sequel Mamma Mia Here We Go Again, in which she starred opposite Meryl Streep.
Seyfried’s filmography is stacked and consistent, but she’s never celebrated as much as some of her peers, including Mean Girls co-star Rachel McAdams (also an underrated actress in her own right who got on the awards track sooner than Seyfried). In late 2020 when David Fincher’s Mank came out on Netflix, Seyfried gained some loyal fans dedicated to campaigning for her performance as actress Marion Davies. While Seyfried received an Oscar nomination, she was never one of the frontrunners and her performance never dominated the conversation. Mank was more about the story behind it: both the story of the making of Citizen Kane and the story of the film itself, which was written by Fincher’s late father. As a result, Seyfried’s performance took a backseat since it wasn’t the splashiest Mank narrative. After a long, interesting, wide-ranging career, The Dropout is finally giving Amanda Seyfried her due.
Initially, the role of Elizabeth Homes wasn’t even Seyfried’s. Kate McKinnon of Saturday Night Live was originally supposed to play the character on The Dropout but dropped out (yes I see the irony here) in early 2021. No reason was cited for McKinnon’s departure, but she can be seen as Carole Baskin in Peacock’s Joe vs Carole, which premiered the same day as The Dropout.
Seyfried’s performance as Elizabeth Holmes indicates that she was meant to do this and that no one else should do it (ahem, Adam McKay, whose feature film Bad Blood starring Jennifer Lawrence as Elizabeth Holmes has been in development since 2016). The Dropout opens with Holmes giving a deposition in 2017. While recognizable, her performative image is completely stripped away, disheveled. In lieu of her signature Steve Jobs-inspired black turtleneck, black eyeliner, and red lipstick, Holmes wears a light blue button-down blouse and no makeup. Her confident, condescending demeanor is still lurking underneath, but it’s only a fraction of what it once was. Then the episode flashes back to Holmes’ childhood. Through facial expressions, body language, that signature fake deep voice and the Steve Jobs dance (and in just the first few minutes of the series’ first episode) Amanda Seyfried conveys the emotional journey of a woman who went from corrupt innocence to completely corrupt.
Seyfried’s sharp emotional intelligence in her approach to the role becomes more obvious as Elizabeth Holmes gets deeper into her CEO persona as The Dropout goes on (new episodes drop on Hulu every Thursday). As the series goes on, as Theranos grows, and as Holmes gets more tangled in her lies, Holmes becomes more selfish and disturbing but as Seyfried portrays it, more like herself. In every aspect of the performance, Seyfried went for interpretation instead of impression, which is why her version of that baritone voice we all know so well works so well. But most vitally, Seyfried is playing Elizabeth Holmes the way Elizabeth Holmes was meant to be played: without judgment, but without too much empathy, either.
Getty Image/Ralph Ordaz / JAVIER LUNA/FELICIA GARCIA
Sure, spring signals warmer temperatures, an influx of rooftop parties, and tropical travel plans. But it also trumpets the start of festival season. And in Southern California, it’s never too early to get your body moving.
To help kick off the next few months of festivals across the U.S. and beyond, CRSSD Fest hosted its annual event at the Waterfront Park in San Diego this past weekend. While the lineup alone got us pumped — performers included Sofi Tucker, SG Lewis, Blu DeTiger, Glass Animals, Gorgon City, Cautious Clay, Parcels, and tons more — its the way the crowd truly showed up that has us excited for all of the live music and dance parties to come. Fans brought the good vibes and head-turning outfits tenfold.
It’s safe to say there was no shortage of glitter, fur, and neon ensembles last weekend. If you’re anxiously awaiting your next festival and still don’t know what to wear, let the slew of out-there and on-trend outfits below inspire you.
Alec Baldwin’s been speaking out of court lately, more specifically, at a Colorado film festival where he suggested that Rust plaintiffs are suing the most deep-pocketed defendants possible. This, unfortunately, sounded like Baldwin was shading the husband of Halyna Hutchens, who was killed by a firearm held by Baldwin, even though he insists that he didn’t fire the gun. It wasn’t the wisest move for Alec to be so public with his arguments about plaintiff interests while also named as a defendant (given that he’s a Rust producer in addition to acting in the film), but Alec’s moving in on the court, too.
New court documents posted by Deadline reveal how Baldwin’s attorneys submitted 37 pages in an effort to clear him of financial responsibility. Sections 35-36 of the document assert that Baldwin’s Rust contract granted him “a tie-break on all creative decisions” and matters of budget, but he had “no independent authority to make hiring decisions” on the film. In turn, the attorneys argue, he shouldn’t be responsible for crew members’ negligence. It’s getting uglier, but the gist is that Alec is wants to make sure that someone pays for Halyna’s death, but it shouldn’t be him:
Halyna Hutchens’ death is an unthinkable tragedy. Perhaps billions of rounds have been fired from guns on film and television sets over the past 75 years, without incident. Only a few — in the single digits — have resulted in fatal injury. That’s because crew members generally do their job to ensure that live rounds don’t end up in guns being fired by actors on movie sets. This is a rare instance when the system broke down, and someone should be held culpable for the tragic consequences. That person is not Alec Baldwin.
Then there’s some contentious language (a lot, actually), in which Alec’s accusing Matt Hutchins of digging too hard for money and rejecting a settlement offer. At first, the court documents claim, Hutchins described the “proposed settlement” as “interesting,” but later on, “Hutchins sounded less open-minded.”
This change of heart, Baldwin claims, caused Alec to lose hope for “plans to complete Rust and to channel its proceeds into a fund for Hutchins’s and his son’s benefit,” which Baldwin asserts “have unfortunately broken down as a result of the lawsuit and these public statements.” It sounds like Alec wasn’t thrilled that Matt Hutchins accused him of trying to offload blame to other parties during an ABC News interview, which was a very public declaration in and of itself. Following that interview, Matt Hutchins admitted that he was “just so angry to see him talk about her death so publicly in such a detailed way and then to not accept any responsibility after having just described killing her.”
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