Month: April 2022

Paula Patton did something that might actually unite the internet, in a strange enough way, because everyone is confused as heck about what’s going on with her fried chicken recipe that she’s crediting to her mom. And this recipe is reminding people of a certain scene from the most recent Atlanta season premiere (in which a pair of foster moms completely butcher said recipe).

First, the necessaries: Here’s Patton’s video (she Instagrammed this thing on March 4, well before April Fool’s Day and the relevant Atlanta episode):

A month later, and this reaction video has gone viral because, well, it’s so funny. It’s particularly bizarre to note how Paula is either seasoning or non-seasoning (really seems like the latter), and how she actually takes a bite at the end.

The same goes for the “fowl stuff” quote from the WuTangKids Twitter account.

In short, everyone is confused as heck here. Why is Paula seasoning chicken after putting it into the grease?

Don’t even get people started on how she’s rinsing off the chicken with water and calling it clean before leaving it all pink inside and calling it cooked. Yikes. And this is offending everyone who loves fried chicken while probably even confusing vegans.

The Se7en and Will Smith jokes hit particularly hard.

And everyone piled on, roasting and frying this horrible chicken, which some have dubbed a culinary “abomination.”

The Atlanta jokes rolled in as well, for solid reason.

Maybe Paula should stick to casseroles?

Jake Johnson knows exactly what he’s doing on HBO Max’s Minx. On the period comedy series which chronicles the fictional story of Minx – a feminist magazine in the 1970s with male nude spreads ala Playboy – Jonhson plays Doug Renetti, the publisher at Bottom Dollar, which publishes titles including Milky Moms. Secretary Secrets, and Feet Feet Feet. Johnson’s dynamic, confident performance as Doug works against expectations for the actor, while still integrating his signature effortless allure that made New Girl’s Nick Miller an icon.

On the surface, Doug is the ultimate 70s sleaze. At the beginning of the first episode, Joyce (Ophelia Lovibond actress), a Type A feminist with a dream for a magazine for women meets Doug at a magazine festival where people can pitch their magazine ideas to publishers. Doug’s hair is long and uncombed, he has a scraggly beard, and he unbuttons his button-down shirt to reveal his chest hair and gold medallion necklace. He’s smoking a cigarette. Joyce rolls her eyes at Doug (to be fair he does a little mansplaining), and assumes he is also there to pitch an idea for a magazine. Joyce learns at the end of their conversation that Doug is a publisher. Doug is, shockingly, more interested in Joyce’s idea for a feminist magazine than Conde Nast. “Chicks are changing,” he says. But there’s a catch: the magazine has to have dicks in it.

As the series progresses, Jake Johnson’s performance gives Doug more and more layers, a challenging feat for a character with such a unique look who makes his money off of selling sex. Doug is a complicated guy: he’s charming, progressive, devoted to his work and hopelessly devoted to the success of Minx as well as a button-down in a loud print with tight flared pants. But while Doug is championing a feminist magazine, he still has some setbacks that indicate he desperately needs to read his own publication: he calls women chicks, and he sends Joyce away during business conversations. He also does business with the mob and other nefarious characters.

Jake Johnson made an impact with his role as Nick Miller, the messy but lovable bartender with a Peter Pan complex on FOX’s New Girl, who, it must be noted, did not think that towels need to be washed. Johnson’s performance as Miller felt so authentic and personal that Nick Miller became Jake Johnson. On Minx, Johnson is pushing against that with ease. Nick and Doug are both a bit sleazy at first glance, but beyond their irresistible charm (despite their glaring flaws), they don’t have much in common Nick Miller was a bit lazy, insecure, and lacked ambition whereas Doug Renetti is confident, fearless, and driven.

At the end of Minx’s third episode, Doug orders drinks at a bar for himself and his business partner Tina (Idara Victor): a Maker’s and a banana daiquiri. The bartender hands the Makers to Doug, and the banana daiquiri to Tina. Without a word, Doug picks up the tiny umbrella-clad banana daiquiri in front of Tina, while Tina picks up the Makers.

This is the kind of narrative nugget that only works if the performance is working. There was never any indication that Doug enjoys fruity cocktails. Instead, it’s the small, delicate details and layers within Johnson’s performance that sell the moment and make it make sense. It’s Johnson’s awareness of his charm that makes him so good. On New Girl, Johnson captured an almost childlike charm, the male equivalent of the girl-next-door. On Minx, Johnson confidently carries loud prints, bellbottoms, gold chains, and chest hair — and the unlikely mentor role. Frustratingly endearing and slightly cheesy characters are what Jake Johnson does best, and on Minx he’s proving he has so much more to offer than anyone imagined.

Chicago trio Horsegirl announced their debut album Versions Of Modern Performance in March after signing to Matador Records. Singles like “Anti-Glory” and “Billy” flexed emotive, cathartic vocals and prominent, hypnotic bass lines; the sound is the vein of Porridge Radio or Horse Jumper Of Love.

The band has released the new track “World Of Pots And Pans” that builds up their appeal even higher, opening up with sharp, reverberating riffs and dismal words uttered in a mesmeric deadpan, “Emma was my brand new friend / Fun to see how this one ends.”

About the song, the band said:

“’World Of Pots And Pans’ is the first love song Horsegirl has ever written — or the closest thing to it. We wrote it in Penelope’s basement while preparing to leave for our first ever tour. The lyrics, inspired by the misinterpretation of a Television Personalities lyric, imagine a (possibly unrequited) romance unfolding through references to Tall Dwarfs, Belle & Sebastian, and the Pastels.

We made the lyric video in a couple hours. The three of us had a fully formed vision of what it should look like and were able to quickly execute the real-time ‘animation’ in only two takes. It feels special to showcase our creative chemistry, and Nora was able to finally carry out her childhood dreams of making an OK Go (ish) type video.”

Listen to “World Of Pots And Pans” above.

Versions Of Modern Performance is out 6/3 via Matador Records. Pre-order it here.

In recent days, The Weeknd has been teasing that his new video for “Out Of Time” would be dropping soon, and it turns out “soon” is today, as the clip premiered this morning.

In it, he stars alongside Jung Ho-yeon, who is best known for her recent role as Kang Sae-byeok in Squid Game. In the clip, the pair enjoy some time together by singing “Out Of Time” on karaoke and hanging out in a hotel. Thinks take an odd twist towards the end, though, and that’s when Jim Carrey, whose voice was already featured on the song, pops up.

Ahead of the release of Dawn FM, Carrey offered his thoughts on the album, tweeting, :I listened to Dawn FM with my good friend Abel @theweeknd last night. It was deep and elegant and it danced me around the room. I’m thrilled to play a part in his symphony. ;^•.” The Weeknd shared the tweet and added, “Thank you for being a part of this. It’s kismet. Full circle [single tear emoji].”

Meanwhile, The Weeknd as we know him might be gone soon, in that he may be considering changing his name, as he tweeted, “I feel like i should change my stage name to ABEL at this point lol. Maybe pull a YE and just legally change my name to ABEL. no last name. Like Madonna or Cher or Prince.”

Watch the “Out Of Time” video above.

The last time we checked in on Mike “Pillow Man” Lindell, who sounds like he played basketball in the 1970s when he’s really just a pillow-selling kook, he was accusing a politician of “murder.” Everything’s going great over there.

Ahead of his speech at a pro-Trump rally in Michigan over the weekend, Lindell (who 12 TV stations have reportedly barred from appearing in MyPillow ads) spoke to the Right Side Broadcasting Network about his tireless (literally) efforts to prove that Donald Trump, not Joe Biden, belongs in the White House. “The evidence we came out with 10 days ago, it’s over. It’s just a matter of getting it out there,” he claimed, with no evidence.

Lindell also revealed how much money he’s spent trying (and hilariously failing, over and over again) to prove the 2020 election was rigged against Trump.

“I’ve spent about $35 million,” the MyPillow founder told RSBN. The interviewer looked shocked, turning her head and looking at the ground as she kept the mic on Lindell. “Well, my employees thank all of you,” Lindell said, motioning to the crowd. “We wouldn’t have been able to do it if you guys hadn’t supported buying our products and you guys on RSBN, you guys are the best.”

Lindell has wasted $35 million in attempt to prove something that doesn’t exist when he could have spent that money to buy a castle in Connecticut. Personally, I would rather own a castle (or pay my legal fees).

(Via Newsweek)

The 2022 Grammys were just a few days ago now and while Flea and his Red Hot Chili Peppers didn’t come away with any wins (or nominations) this year, Flea has certainly done well in the past. Lifetime, he’s been nominated 17 times and won six Grammys, his first coming in 1993 when RHCP won Best Hard Rock Performance With Vocal for “Give It Away.” As for what happened to that trophy, it wasn’t handled with as much care as most Grammys are: Flea says his then-5-year-old daughter ended up using it as a shovel and left it outside all winter.

In a recent interview with KROQ (as NME notes), Flea said:

“Grammys are awesome, but after we won our first Grammy, like three years later, my mom said, ‘Michael, where’s your Grammy,’ and I was like, ‘I don’t know, mom, I put it somewhere.’ Months after that, my gardener came out of the backyard, in the garden, and you know how the Grammy looks like an old record player with the horn on it? My daughter had unscrewed it and was using it as a shovel for the garden. It had been out there in the dirt for the whole winter.”

Red Hot Chili Peppers’ most recent Grammy wins came in 2007, when “Dani California” won Best Rock Song and Best Rock Performance By A Duo Or Group With Vocal, while Stadium Arcadium got Best Rock Album and Best Boxed Or Special Limited Edition Package. They were most recently nominated in 2012, when I’m With You was up for Best Rock Album. Meanwhile, Flea had a nomination of his own at the 2021 Grammys, when his Acid For The Children: A Memoir was nominated for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling).

Red Hot Chili Peppers is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

The Kansas Jayhawks made history on Monday evening, and not only because they won the 2022 national championship with a 72-69 victory over the North Carolina Tar Heels. Kansas trailed by 15 points after 20 minutes, one of the five largest halftime deficits in title game history, and the Jayhawks set a new standard for comebacks on the biggest stage in the world of college basketball. It wasn’t always a smooth ride, as evidenced by several drama-filled moments, but that did not stop Charles Barkley from leaning on a pre-game guarantee to fuel a post-game celebration.

In short, Barkley guaranteed a Kansas victory on Saturday night after the title game matchup was set, much in the way he does on a regular basis during Inside The NBA telecasts on TNT, and that guarantee was largely directed to his colleague, Kenny Smith. As a famous North Carolina alum, Smith likely did not take kindly to Barkley being on the opposite side but, in on-brand fashion, that did not stop Barkley from letting Smith have it at the end of a wild evening in New Orleans.

One would imagine that Barkley can get away with this in a way that few can and, of course, Smith is a pro who deals with this kind of thing regularly. Still, this one probably stung at least a little bit for Smith given the way that the game unfolded, and this all took place in front of the watchful eye of about 70,000 people in the Caesars Superdome. Alas, this is part of the fun when watching two members of the greatest sports studio show of all-time, and Barkley is going to be Barkley at all times.

Monday night’s championship game between Kansas and UNC was an all-timer, with some absolutely wild swings in what became a 72-69 Jayhawks win.

Kansas jumped out to a 7-0 lead before UNC steamrolled them for the rest of the first half, taking a 15-point advantage to the halftime break. From there, the Jayhawks would go on a massive run of their own to pull back in front, making for the biggest comeback in title game history, before trading blows down the stretch with the Tar Heels in an instant classic.

The final few minutes were absolute pandemonium, with both teams taking late leads before a wild closing sequence saw the Tar Heels get multiple shots to force overtime down three. After missing a pair of threes and turning it over on a second offensive rebound, UNC needed a miracle to have a chance at the win with just under five seconds to play. From a betting perspective, the closing line of Kansas -4/-4.5 was suddenly very much in play for Jayhawks bettors who had been in the dark place at halftime, as a pair of free throws would’ve sent Kansas to cover town.

One bettor in Las Vegas was particularly interested in the final few seconds, as there was a $1 million wager placed on Kansas -4 at Red Rock, and suddenly they were very much live.

However, disaster struck on the ensuing inbound, as Dajuan Harris Jr. stepped out of bounds as he streaked up the floor to catch the inbounds pass and what should’ve been two free throws for Kansas after a UNC desperation foul became another chance at overtime for the Heels.

At that point, this bettor was praying for a game-tying three to give the Jayhawks five more minutes to pull away by four or more, but a Caleb Love three missed wide left at the buzzer and while Kansas fans became jubilant, this bettor and anyone else that had Kansas laying the points were left despondent. It would’ve been one thing for UNC to have run away with a win after that first half, but to have it swing all the way back to having real hope for a win only to have it ripped away in that manner is a tough pill to swallow.

Bill Self and the Kansas Jayhawks entered Monday’s national championship matchup as the betting favorite against the North Carolina Tar Heels but, after 20 minutes of action, Kansas appeared in be in severe trouble. In fact, the Jayhawks trailed by 15 points at the halftime break, one of the five largest margins in title game history, but Kansas roared out of the gate in the second half, evening the score with haste. The Jayhawks then executed down the stretch, outlasting a worthy challenger by a 72-69 margin to give Self a second national title and the Kansas program its fourth national championship in its 16th Final Four appearance.

For the top-seeded Jayhawks, the opening minutes of the game actually went quite well. Kansas scored the first seven points of the night, including a three-pointer by Big 12 Player of the Year Ochai Agbaji on the first possession.

North Carolina did not wither, however, and the remainder of the first half swung in the direction of the Tar Heels. First, North Carolina answered with a 12-4 run, scrapping on both ends of the floor to take the lead for the first time.

The early moments of the half were marked by scattered play by both teams, as both sides were attempting to push the pace but without maintaining requisite efficiency. It was North Carolina that settled in first, utilizing the offensive glass behind Armando Bacot and generating 14 second-chance points in the first 12 minutes.

Kansas did knot the game at 22-22, but veteran big man Brady Manek kickstarted a North Carolina run with back-to-back threes.

Though the Jayhawks attempted to stop the bleeding with multiple timeouts, the Tar Heels scored 16 consecutive points, pushing their lead to 38-22. Kansas failed to score for almost four full minutes and, dating back to the early minutes, it was an extended disaster for the Jayhawks on offense. The No. 1 seed scored only 16 points in the final 17 minutes of the half, going without a field goal for almost six minutes down the stretch. Kansas also opened just 4-of-14 on layup attempts, closing the half on a 6-of-27 shooting drought.

North Carolina took a 15-point edge into halftime as a result, tying the fourth-largest leading margin at halftime in championship game history. With that said, it wasn’t as if the Tar Heels were red-hot from a shooting standpoint. In fact, North Carolina shot just 36 percent from the floor and 3-of-11 from three-point range in the half, but the Tar Heels secured eight offensive rebounds — including four from Bacot on the way to a double-double before halftime — and managed to deter Kansas on the other end.

After the break and with the opportunity to collect themselves, the Jayhawks performed at a much higher level to begin the second half. Kansas immediately put together a 20-6 run, slashing the margin to 46-45 within the first seven minutes of play. Christian Braun, the team’s second-leading scorer for the season, poured in eight points in a hurry, and Jalen Wilson added a three-point play in transition.

During the spurt, a pair of starters — Manek and Leaky Black — entered foul trouble, putting North Carolina further on its heels. Black picked up a fourth foul with nearly 14 minutes to go, and as the best defender for the Tar Heels, his absence was significant. Kansas intentionally pushed the pace with its starters, getting away from a the post-driven offense from the first half and pivoting to a more free-wheeling approach that was effective.

Kansas then threw its biggest haymaker of the night to that point with a 9-0 run in just 45 seconds. Agbaji finished a three-point play to tie the game and, in short order, Remy Martin buried a three-pointer and Wilson picked up another three-point play.

Through the first ten minutes of the second half, the Jayhawks outscored the Tar Heels by a 31-10 margin. That explosion was reminiscent of Kansas’ victory over Miami earlier in the tournament in which the Jayhawks shot 59 percent after halftime and bludgeoned the Hurricanes by a 47-15 margin. Still, North Carolina was not ready to roll over, as reserve wing Puff Johnson enjoyed the sequence of his season with a three-pointer (to tie the game) and a drawn charge on the other end.

Kansas soon took its largest lead since the opening moments. Using three-pointers by Martin and Wilson, the Jayhawks took a four-point advantage and Martin, who struggled mightily in the first half, recaptured the form that made him a highly coveted transfer from Arizona State. In fact, Martin buried another three-pointer off the dribble with 2:39 to go, breaking a tie and giving the Jayhawks a three-point edge.

Yet again, however, North Carolina answered, with Caleb Love and Manek combining for back-to-back buckets to give the Tar Heels the lead. Following a timeout, Kansas big man David McCormack produced a second-chance bucket for the lead with 1:21 left, continuing the back-and-forth feel of the entire second half. On the ensuing possession, Bacot attacked the rim, only to lose the ball as he suffered a rekindling of the ankle injury that plagued him coming into the evening.

After a stoppage, McCormack attacked Manek in the post, with the undeniable reality that Bacot would normally be in the same matchup. McCormack executed well, dropping in a jump hook to take a 72-69 lead.

North Carolina then attempted to tie the game in havoc-filled fashion, but came up empty, seemingly signaling the end of the line for the Heels. However, Kansas committed a turnover on the inbounds pass, with Dajuan Harris Jr. stepping on the sideline to open up another chance for the Tar Heels to tie the game with 4.3 seconds remaining.

In the end, however, the Tar Heels could not pull off the miracle, as a game-tying attempt from Love landed harmlessly on the floor, securing the victory and the national title for Kansas.

Kansas ultimately outscored North Carolina 47-29 in the second half, displaying the team’s considerable upside. Five players finished in double figures for the Jayhawks, with Martin taking on a starring role after halftime and Agbaji and McCormack teaming up for impactful plays as usual. Kansas overcame a 20-rebound deficit and a 20-point hole in second-chance points, but the Jayhawks were simply more effective in converting quality shot attempts, and overall team quality came to the forefront in crunch time.

Just two years ago, Kansas was set to enter the 2020 NCAA Tournament as the betting favorite to win it all, only to have COVID to end the festivities before they began. This time, the Jayhawks zoomed through the Midwest Region and arguably put together their best half of the season to make history as the team overcoming the largest halftime deficit in championship game history.

Jason Momoa has been doing pretty well for himself (even in times of pain), and when someone does well for themselves it’s time for their dream projects to become reality. And so the time has come for arguably the DCEU’s most endearing star: As per /Film, Apple TV+ has given the go for Chief of War, in which the ripped star will get to tell a key story about his native home of Hawaii.

The show, which is set to be an eight episode limited series, tells the story of the unification of Hawaii in the late 18th century. Momoa, who co-created the show with Thomas Paa Sibbett and will also help write, is set to play Ka’iana, a legendary warrior who was called out of retirement after becoming the focus of a prophecy about a figure who will bring all the neighboring islands together as one.

With the exception of Disney’s Moana, the Polynesian islands have rarely been given the big-screen treatment. When shown at all, it’s depicted as a resort for white characters. (Emma Stone ran into some trouble in 2016 when she played a character who was 1/5 Hawaiian in Aloha.) This will give the islands some much-deserved attention as well as let Momoa strut his stuff outside the comic book-derived realm. This show is set to begin production this summer.

(Via /Film)