Ellen Pompeo is coming to the defense of her former Grey’s Anatomy co-star Katherine Heigl. During the latest episode of her podcast, Tell Me with Ellen Pompeo, the Grey‘s star praised Heigl for being “100 percent right” about the working conditions on the hit ABC drama. Unfortunately, when Heigl voiced her concerns back in 2009, she was lambasted by David Letterman and Diane Sawyer, both of who essentially brushed her off. Sawyer even went so far as to tell Heigl to her face that “no one feels sorry for you.”
As a result of the backlash (coupled with the coupled the controversy over her criticisms of Knocked Up and the writing on Grey’s Anatomy) Heigl watched her film career implode and has only recently seen vindication for highlighting the “insane” working conditions. Via Deadline:
“I remember Heigl said something on a talk show about the insane hours we were working. She was 100 percent right,” Pompeo said to Kate Walsh, her guest on the podcast. “Had she said that today, she’d be a complete hero. But she [was] ahead of her time. She made a statement about our crazy hours, and of course, let’s slam a woman and call her ungrateful. When the truth is, she’s 100 percent honest and it’s absolutely correct what she said, and she was f*cking ballsy for saying it, and she was telling the truth, she wasn’t lying.”
Heigl hasn’t forgotten how she was treated for pushing back on the long hours for Grey‘s. In September 2021, she voiced her support for IATSE workers who were striking for better working conditions and expressed in an Instagram post that she finally felt “vindicated” after “I got my ass kicked for speaking up” years ago.
Emmy nominee Christina Ricci just increased her chances at becoming Emmy winner Christina Ricci.
The very good child actress turned exceptional adult actress will compete for an Emmy for her performance as the mystifying, nerdy, Andrew Lloyd Weber obsessed, and possibly cannibalistic nurse Misty on Showtime’s Yellowjackets in the supporting actress category instead of the leading actress category, per Variety. In this move, Ricci will compete for a nomination against her co-stars who play the teenage versions of the main characters instead of the original plan, which had Ricci competing in the lead category along with the actors who play the adult versions of the Yellowjackets including Melanie Lynskey (who won a Critic’s Choice Award for her performance), Juliette Lewis and Tawny Cypress.
In the extremely competitive supporting actress in a drama series category, Ricci could join Ozark’s Julia Garner (who has won best supporting actress for this role twice) and Succession’s Sarah Snook as a frontrunner. If nominated for her performance on Yellowjackets, which she deserves, it will be Ricci’s second Emmy nomination. Ricci recieved her first Emmy nomination for her guest performance on Grey’s Anatomy in 2006. Following increased poplarity and critical acclaim, Yellowjackets is practically gauranteed to collect an impressive amount of Emmy nominations including Ricci for best supporting actress and if it does not, maybe I’ll start eating dirt.
In the early 2000s, parody films were all the rage among teens who weren’t allowed to see the movies they were actually spoofing. One of the biggest franchises consisted of the Scary Movie films, which made fun of every horror movie ever, including The Exorcist.
As it turns out, Marlon Brando was originally slated to play a priest who performs an exorcism on Natasha Lyonne’s possessed character. While the role later went on to James Woods and Andy Richter, Lyonne looks back fondly on her moments with Brando in a new interview with Entertainment Weekly.
“I have a VHS copy of the dailies that I got because Marlon Brando’s final role — sadly for him, but luckily for me — is doing this Exorcist opening teaser,” Lyonne recalled. She joked, “I don’t know what he was thinking, really.”
The Russian Doll actress then told the story of how the legendary actor had to hold her boob, as per the script. She recalled the exchange:
He had an oxygen tank and he just kind of held my boob, because that was in the script. He was supposed to be like, ‘The power of Christ compels you’ and he just held on. I was in this full monster makeup. I just remember being like, ‘Ah, this is the surrealism that André Breton, Salvador Dali were talking about.’
I had Brando with the earpiece and the hand on the boob, and the makeup. This was all happening at once, and I remember like, ‘You know, showbiz is all right.’ In that moment, showbiz was A-okay. Then he dropped out because of health reasons, and I got the dailies.
Though Brando didn’t end up in the film (he passed away a few years later) Lyonne will always have a memory of him getting to second base, and that’s priceless! Lyonne also joked that she and Richter remained friends after shooting. “Andy Richter and I still do bits about it. So, all told, a fine experience.”
30 years ago today, the Beastie Boys released their monumental third album, Check Your Head. It marked the group’s first major release to feature largely full instrumentation, with Mike D on drums, Ad-Rock on guitar, MCA on bass, as well as Mario C on drums and Money Mark on keys; a hallmark of the group that set them apart in the hip-hop canon forever. First released in 1992, the Beasties settled into their new G-Son studios in Southern California for the album’s recording.
In 2009, the Beastie Boys released an artist store 4LP box set that proved to be the definitive edition of Check Your Head. As with all collector’s items of this sort, it has become rare and out of print for over a decade. Now to celebrate the 30th anniversary of the album, the group is putting out the set again, featuring the remastered 20-track album on the first two records, and then two additional records of live recordings, remixes, B-sides, etc. It’s presented in a fabric-wrapped, stamped, hardcover case.
Peep the tracklist and photo of the four LP Check Your Head vinyl below. While the official release isn’t until June 24th, you can pre-order the Check Your Head box set now, here.
Beastie Boys
Side A
“Jimmy James”
“Funky Boss”
“Pass The Mic”
“Gratitude”
“Lighten Up”
Side B
“Finger Lickin’ Good”
“So What’ Cha Want”
“The Biz Vs The Nuge”
“Time For Livin’”
“Something’s Got To Give”
Side C
“The Blue Nun”
“Stand Together”
“Pow”
“The Maestro”
“Groove Holmes”
Side D
“Live At P. J.’s”
“Mark On The Bus”
“Professor Booty”
“In 3’s”
“Namaste”
Side E
“Dub The Mic (Instrumental)”
“Pass The Mic (Pt. 2, Skills To Pay The Bills)”
“Drunken Praying Mantis Style”
“Netty’s Girl”
Side F
“The Skills To Pay The Bills (Original Version)”
“So What’ Cha Want (Soul Assassin Remix Version)”
“So What’ Cha Want (Butt Naked Version)”
“Groove Holmes (Live Vs. The Biz)”
Side G
“Stand Together (Live At French’s Tavern, Sydney Australia)”
“Finger Lickin’ Good (Government Cheese Remix)”
“Gratitude (Live At Budokan)”
“Honky Rink”
Side H
“Jimmy James (Original Original Version)”
“Boomin’ Granny”
“Drinkin’ Wine”
“So What’ Cha Want (All The Way Live Freestyle Version)”
The Check Your Head 30th Anniversary vinyl edition is out 6/24 via Universal. Pre-order it here.
While Adele‘s Las Vegas residency, Weekends With Adele, has been in limbo for the past few months, fans may soon get a behind-the-scenes look at how the show is coming together. According to TheTelegraph, the “Easy On Me” singer has teamed up with Kim Gavin, the artistic director behind every Take That tour for the past 30 years, to redesign the show.
Adele had been working with Es Devlin on the Vegas residency, who had previously handled the design for her 121-date 25 tour, as well as tours for Beyonce and U2. Reports suggested that after the Vegas residency’s January cancellation, Adele had fallen out with Devlin. All the while, Adele has been working with a documentary crew to capture the residency show and the moments leading up to it. According to The Telegraph‘s source, “Footage of the Es blow-up and the total implode of the production exists.” However, it is unconfirmed as to whether or not this footage will appear in the reported documentary.
The 24-date show was originally set to launch in January, however, it was canceled, ostensibly due to rising COVID-19 rates. However, Adele cited “lots of delays” in receiving materials and “limited manpower” as reasons for the delay. Earlier this year, Adele went on The Graham Norton Show and said, “I tried my hardest and really thought I would be able to pull something together in time. I regret that I kept going until that late in the day. It just would have been a really half-assed show, and I can’t do that. People will see straight through me, up on stage being like, ‘She doesn’t want to be doing this.’ And, I’ve never done anything like that in my life.”
Adele reportedly plans to relaunch Weekends With Adele this summer.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish movies available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
Jennifer Lopez and Owen Wilson star as a preposterously attractive couple who get together after her character — one half of a global sensation pop duo — discovers her lover and music partner has been stepping out. That’s right, it is rom-com time over here. Will they? Won’t they? Whose hair will look better in the pivotal scene that will probably take place in the driving rain? There’s one way to find out: Grab some popcorn and comfy pajamas and set up shop on the couch. Watch it on Peacock.
Zoe Kravitz plays a stay-at-home digital detective in this latest thriller from Steven Soderbergh who — with the help of her friendly A.I. sidekick Kimi — uncovers a string of murders she traces back to the company she works for. She then must venture out into a pandemic-ridden Seattle in search of the reason why. Honestly, we can’t relate. But, Kravitz is quickly becoming a bonafide action star and a Soderbergh script rarely disappoints. Watch it on HBO Max.
Well, guess what: It’s a remake of the 2003 classic with Steve Martin and Bonnie Hunt, which was itself a remake of a film from 1950, only this time is stars Zach Braff and Gabrielle Union as the flustered parents and can be found on Disney Plus, a service that did not even almost exist when the other versions came out. Which is fine. Time marches on. And this one is written and produced by Kenya Barris from Black-ish, which is also fine. Good, even. Round up the family and grab some snacks. Watch it on Disney Plus.
Steven Spielberg brings the classic musical to the big and/or small screen, to the delight of both older fans and newer ones who get to experience it all for the first time. Get in there. Really let the experience wash over you. Sing along. Dance around your living room. Get in a knife fight with your sworn enemy. Okay, maybe not that last one. But the other ones, definitely. Watch it on Disney Plus.
In Domee Shi’s Turning Red, a boy band-loving teenage girl turns into a red panda whenever she experiences strong emotions, which as every parent of a teenager knows all too well, is often. Too often. It’s all the time, really. Turning Red is being called Pixar’s best movie in years, as it should. It’s about time red pandas got the cinematic showcase they deserve. Watch it on Disney Plus.
Deep Water is an erotic thriller that stars Ben Affleck and Ana de Armas as… honestly, what more do you need? It’s a “weird, wild mess” of a movie from the director of Fatal Attraction and Unfaithful, with a murder mystery, duplicitous characters, and Affleck as an alpha cuck. Deep Water is the kind of sleazy mainstream movie that rarely gets made anymore, so it feels like a sexy treat that it even exists (from Disney, no less). Break out your Ana de Armas cardboard cutout and make it a double feature with Basic Instinct.Watch it on Hulu.
It is wild to think about how long Tony Hawk has been a figure in American pop culture. It is also wild to watch a full-length documentary about it, which is good and notable here because HBO made one. The whole thing is fascinating, the way the guy whose name is synonymous with skateboarding at this point is still doing it and does not plan to stop, and the way he’s built a career and lifestyle out of the thing he loved doing as a kid. It’s cool. And a good watch. Crank up “Superman” by Goldfinger and give it a run. Watch it on HBO Max.
5. Apollo 10 1/2: A Space-Aged Childhood (Netflix)
NETFLIX
Apollo 10½: A Space Age Childhood is loosely inspired by director Richard Linklater’s childhood in Texas. The coming-of-age animated film (think: Waking Life and A Scanner Darkly, but more nostalgic) is set during the summer of the Moon landing, and features performances from Glen Powell, Zachary Levi, and Jack Black. Linklater brings out the best in Black (he’s fantastic in both School of Rock and Bernie), and Apollo 10½: A Space Age Childhood looks to be no exception. Watch it on Netflix.
Judd Apatow’s The Bubble is a pandemic-era movie about making a movie during the pandemic. We’re through the looking glass, people. The comedy, which stars Karen Gillan, David Duchovny, Keegan-Michael Key, Pedro Pascal, and Borat Subsequent Moviefilm breakout Maria Bakalova, was produced like a “two-hour Simpsons episode,” according to Apatow, and reportedly inspired by the production of Jurassic World Dominion. If enough people watch it on Netflix, maybe we’ll get a full-length Cliff Beasts 6: The Battle For Everest movie. Watch it on Netflix.
3. Metal Lords (Netflix)
NETFLIX
Game Of Thrones HBO co-creator D.B. Weiss wrote this little ditty while teaming up with Rage Against The Machine axeman Tom Morello as a love letter to the metal genre. The story revolves around two high-schoolers who seek the ultimate glory and win contests and be gods, and so on. Unfortunately, it’s hard to find a bassist when Black Sabbath isn’t as popular with the kids as Justin Bieber is. The struggle is real.
2. White Hot: The Rise & Fall of Abercrombie & Fitch (Netflix)
NETFLIX
The chokehold that Abercrombie & Fitch had on an entire generation of impressionable teens is just one of the many reasons watching the company’s disastrous fall in documentary form is so damn fun. This is a retail store that sold infant-sized clothes to fully-grown adults at the price of a life-time’s worth of body image issues. But if that’s just too dark to think about, it’s also a place where bare-chested men and heavy cologne assaulted you at every turn. In short, it was a hellscape disguised a shopping destination and this doc from Netflix peels back the curtains to paint a really interesting picture on discrimination in the workplace and the cost of cool. Watch it on Netflix.
What if Seven but with way more leather and punching? In a lot of ways, that could serve as a very simple synopsis of what Matt Reeves has done with the crown jewel of DC Comics lore, placing his take beside The Joker on the highest shelf (both in terms of artistry, societal commentary, and other adult themes) in the DCEU film library. Does it work? In some ways, absolutely, providing a grim but intriguing vision of the Batman as a detective with the mother of all chips on his shoulder as he wrestles with his thirst for vengeance and a vicious villain in Paul Dano’s Riddler, who is always seemingly one step ahead of him and Jeffrey Wright’s Jim Gordon (a buddy cop pairing that is as awkward as it is rewarding). Throw in Zoe Kravitz’s tremendous turn as Selina Kyle/Catwoman (who also connects so well with Robert Pattinson’s Batman that you wish Reeves would have allowed for even more of their on-screen back and forth) and Gotham City’s usual mix of criminal underworld string-pulling and civic corruption and you’ve got a very full meal. Overfull? Too mature? Let’s just say The Batman can seem so grown up and dense at times that you may forget that it’s a superhero movie, for better or worse. Watch it on HBO Max.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
It’s a shame Amazon Prime’s latest original series hasn’t broken through on our timelines because it’s one hell of a ride. Think The Twilight Zone meets Yellowstone, and you’ll be close. With a stacked cast that includes Josh Brolin, Imogen Poots, Noah Reid, and Will Patton, plus a batch of converging storylines about rival ranches, feuding families, and time-traveling wormholes that may or may not be the work of extra-terrestrials, it’s the kind of show that could become your next appointment watch. Watch it on Amazon Prime.
If you think about it, Winning Time (HBO’s new Adam McKay-produced series about the 1980s LA Lakers) has all the elements of a classic heist movie. Assembled by a larger than life fast talker with equally big ambitions (in this case, former Lakers owner Jerry Buss), a rag-tag group comes together, leaning on their exceptional and unique talents to paper over any personality conflicts that might arise while taking the thing (a whole mess of gold trophies) no one thought they’d ever get their hands on. This while having some wild misadventures along the way. We’re simplifying, of course, but the point is this should appeal to basketball fans and non-basketball fans alike, earning the right to be the most buzzed-about piece of basketball culture crossover content since The Last Dance helped us all stave off boredom for a few months by telling the story of another mismatched group of big personalities and champions. Watch it on HBO.
Oscar Isaac and Ethan Hawke are in the MCU now, but don’t expect either of them to be the typical Marvel superhero or villain. This show is sheer chaos (and joyous to behold) with Isaac’s character plagued with dissociative identity disorder and tormented with mockery by an Egyptian god. He’s a gift-shop employee, a mercenary, and a hero? Sure. Hawke plays a David Koresh-esque cult leader. Hold on tight. Watch it on Disney Plus.
The biker soap-opera adventure continues, and man, will these clubs ever learn to stay in their own lane? Silly rabbit, that would be no fun. This season continues the all-out war of last year with the franchise’s customary “blowback” on display from all angles. Yet the Santo Padre guys are making the grave error of trying to get back into the drug trade, which means they’re working ass-backward. And in the Sons of Anarchy universe, there can never be only one King, so good luck to all involved here while skewering that American Dream. Watch it on Hulu.
Despite the swirl of bitterness from some who feel not super about their portrayal in HBO’s Winning Time dramatization of the ’80s Showtime LA Lakers, it’s a great time to be a fan of old school basketball and the glamour of the time, indulging in the aforementioned series and looking forward to additional projects that are coming from a more officially blessed place. That includes an upcoming docuseries on the Lakers, but Apple TV+’s brand new four-parter trains its eye specifically on the life of Showtime’s brightest star, Magic Johnson, offering the chance to get more insight into the remarkable life of a man that helped establish the NBA as an icon factory before branching out to help set the blueprint for post-career moguldom. Watch it on Apple TV Plus.
Roar is a feminist manifesto written by someone on shrooms. No, really. It’s a magical mystery tour filled with ruminations on race, internalized misogyny, feminine guilt, and whose stories are worth being told – wrapped up in surrealist storylines and Wes Anderson-esque cinematography. It’s absolutely unlike anything you’re watching on TV right now, and that’s without mentioning Merritt Wever’s sex scene with a duck or the montage of Nicole Kidman chowing down on old photographs like they’re a five-course meal. Do yourself a favor and bask in its weird-as-hell vibes. Watch it on Apple TV Plus.
With a release date of 4/20, this show got trippier and swaggier after a close to perfect first season presented quite a dilemma, which was how to follow up the debut while believably upping Nadia and Charlie’s existential journeys. The time loop has now given way to time travel, and Natasha’s sense of physical comedy, never fails to command the screen while diving deep into the trauma of generations past. It sounds stressful, but the show never forgets to entertain. Watch it on Netflix.
The first season of The Flight Attendant was a blast, just fizzy chaos and murder from the opening scene to the very end, with Kaley Cuoco carrying the action as a party girl airline employee who finds herself wrapped up in about eight layers of international flim-flammery. It’s back for a second season, thank God, with her character, Cassie, now assisting the CIA. That probably sounds like an insane twist to you if you didn’t watch the first season. And it is. But more importantly… why haven’t you watched the first season yet. Good Lord. Get in there. You deserve a good time. Watch it on HBO Max.
It should not be possible to enjoy watching a sweet man like Bill Hader destroy his life and the lives of those around him, and yet, here we all are, ready for season three of Barry, one of the best shows on television. It’s a dilemma, honestly. Not as much of a dilemma as, say, being a hitman who stumbles into an acting career and has to occasionally kill more people to prevent other people from learning that he has a history of killing people, but still. There’s an embarassment of riches at play here. Find another show that features Henry Winkler and Stephen Root and D’Arcy Carden where none of them are the funniest character, somehow, against incredible odds. This is the power of NoHo Hank. You either know what that sentence means or you desperately need to binge Barry as soon as possible. Watch it on HBO Max.
Well, guess what: Atlanta is back, four years since its second season and just as ready and willing to throw you for a loop. Earn and Paper Boi and Darius are still off in Europe on that tour they were en route to way back then, but there are detours and flights of fancy and all the other weird, stunning, inventive stuff that made (and makes) this one of our greatest shows. Donald Glover and this crew are pretty good at this stuff. It’s great to have them back. Watch it on Hulu.
Better Call Saul is back, soon, finally, after an extended layoff. It remains one of our greatest shows, a ball of tension and comedy, the former of which is amped up even more as it heads into its final season. What will happen to Kim? What will happen to Nacho and Lalo? The Breaking Bad timeline is rapidly approaching and it’s time to answer these questions once and for all. It’s okay to be nervous. We’re nervous, too. Take some time for a quick Season 5 rewatch on Netflix and then strap in for the new episodes on AMC Plus
In 2020, it looked like Janelle Monáe had come out as non-binary after tweeting “#IAmNonBinary.” They later clarified in an interview, though, “I tweeted the #IAmNonbinary hashtag in support of Nonbinary Day and to bring more awareness to the community. I retweeted the Steven Universe meme, ‘Are you a boy or a girl? I’m an experience,’ because it resonated with me, especially as someone who has pushed boundaries of gender since the beginning of my career. I feel my feminine energy, my masculine energy, and energy I can’t even explain.”
However, now, Monáe has gone ahead and declared as directly as possible that they are in fact non-binary: In a new Red Table Talk interview (as Billboard notes), Monáe told Jada Pinkett Smith, “I’m non-binary, so I just don’t see myself as a woman, solely. I feel like God is so much bigger than the ‘he’ or the ‘she,’ and if I am from God, I am everything.”
Monáe continued, “I will always, always stand with women. I will always stand with Black women, but I just see everything that I am, beyond the binary.”
Monáe also discussed why they decided to come out now, saying, “Somebody said, ‘If you don’t work out the things that you need to work out first before sharing it with the world, then you’re going to be working it out with the world.’ That’s what I didn’t want to do.”
In recent years, it has seemed that musical content in hip-hop and R&B has been firmly divided by genre – and gender. Hip-hop gets to be the sole domain of men with toxic narratives driven by rappers like Drake and Future. They play aloof and apathetic toward the women in their lives, gaslighting them for being hoes while loudly proclaiming they’ll never settle down themselves. Meanwhile, it’s the women in R&B, like Grammy winner Jazmine Sullivan and Summer Walker, who have to play the fed-up victims of men’s mind games. Seemingly every song sounds wounded — or barring that, encouraging women to recover from the wounds inflicted on them by destructive relationships.
Kali, the 21-year-old Atlanta rapper who won viral fame thanks to beloved clips of her songs on TikTok, is dead set on upending this particular convention in Black music. In March, she unleashed her major-label debut EP, Toxic Chocolate, pointedly reversing the dynamic and staking a claim on space for women in the toxicity conversation in hip-hop. “If somebody think they going to play games with me,” she explains of the EP’s contrarian philosophy, “I’m going to show you, look, I’m competitive, and you’re going to lose this game, sir, ma’am, anybody. It’s just, like, put your foot down. The girls need to get their power back.”
That’s what she does on the EP with songs like “UonU,” a role reversal anthem that would make Michael Scott proud – oh, how the turntables… etc. There’s also “Standards,” which finds the young rapper drawing her line in the sand and demanding consistency from the men she deals with. And on the EP’s title track, she offers the following flippant missive: “I’m really in love, I ain’t really toxic / Just playin’, I’m lying / Fuck on the side, oh he throwing up crying.” Kali’s debut is what would happen if Megan Thee Stallion got stuck in the Brundle teleporter with Future while Destiny’s Child’s “Independent Women” played in the background.
Of course, she doesn’t see it that way. For her, it’s just about flipping those sad songs into veritable bangers, slathered with a greasy layer of Southern crunk. “I always hear girls, even myself… We’d be like, ‘Oh, I would never, I wouldn’t do him like that.’ But, we got enough music telling us that, enough sad music to cry about. It’s time to just be like, ‘You know what? He did it to you, why you can’t do it to him?’ Summer Walker’s stuff had just came out. Everybody sliding down walls, and crying. It was just like, ‘No, that’s not the vibes anymore.’ Do that man how he did you. Let’s see who can really take it.”
If this seems like a prescient outlook for someone who just reached drinking age, well, it is. But Kali has always been precocious, starting her rap career at the age of just 12 years old after writing down her pre-teen feelings in a journal and earning the right to her own bedroom by meeting her father’s challenge of writing a full album’s worth of rap songs to the beats he made at home. Through high school, she pursued soccer to avoid her parents’ scrutiny over her subject matter, but upon graduation returned to her first love: rapping. After a brush with early stardom thanks to an audition on Netflix’s Rhythm + Flow, Kali overcame a few more early career setbacks to achieve viral fame when she uploaded her song “Do A Bitch” to TikTok in late 2020.
That song, which she later remixed with Rico Nasty, laid the groundwork for her next viral single, “MMM MMM,” to truly take off. “My first reaction [to the song going viral] was, ‘I did it again,’” she recalls. “‘I’m doing it again, y’all.’ I can say, ‘I got the plan, I just need the platform.’” The platform came just a few weeks later when fellow Atlanta rapper Latto reached out to her to jump on the remix. There likely couldn’t be a better candidate; aside from sharing a hometown, the two rappers both started their rap careers young, both garnered a bit of initial attention thanks to a reality TV rap competition, and both were given the co-sign of an older, more established artist – the very epitome of paying it forward.
Latto continued to pay it forward, recruiting Kali to her first-ever headlining tour. At the stop in Los Angeles, I got to see the impact of Kali’s music firsthand as the sold-out crowd at the Novo recited back her lyrics bar-for-impressively-witty-bar. “A lot of people have been telling me, ‘Kali, your tape is no-skips, straight through,’” she humblebrags. “‘I’ve listened to this every day straight through.’ Even being on tour, people knowing the words already – and it hasn’t even been that long, and I’ve only had like five shows – is super crazy to me, it makes me so happy. Every show, I see that one person that knows every song, word for word, and even a crowd singing along by the second hook, I’m like, ‘Oh, well y’all really is tuned in.’”
Kali admits that there’s been an adjustment to the newfound fame, but she’s already ready for more. “I want to do my own tour,” she muses. “I would love to do that. That’s why I’m putting in so much work on this one… I leave the show with a goal every day: Hopefully, someone left the show like, ‘Oh, I didn’t know Kali, but I’m going to look up more of her music.’ I just want to be super big. So whatever I got to do to be big, that’s what I’m going to do.” When I ask whether or not she accepts the claims that she’s rap’s women’s answer to Future, she demures.
“No, no, this is a toxic phase,” she laughs. “I’m just letting you all know, I don’t play games. This is not that. So, if you ever trying to shoot your shot, just make sure you listen to the tape first. Before you show me your A-S-S, I got you. But as soon as you do that, Toxic Chocolate will appear. And I would throw a toxic tantrum.”
Kali is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Alec Baldwin has remained relatively quiet since the tragic shooting on the set of Rust last fall, which took the life of cinematographer Halyna Hutchins. Early on in the investigation, Baldwin was notoriously uncooperative with authorities, insisting he wasn’t guilty, but not giving up his phone for evidence.
Now, the New Mexico Occupational Health and Safety Bureau have found that Baldwin was innocent in the matter, saying that he was not responsible for the errors that caused the shooting. The actor posted a poorly cropped notes app statement on his Instagram from his attorney:
We are grateful to the New Mexico Occupational Health and Safety Bureau for investigating this matter. We appreciate that the report exonerates Mr. Baldwin by making clear that he believed the gun held only dummy rounds. Additionally, the report recognizes that Mr. Baldwin’s authority on the production was limited to approving script changes and creative casting. Mr. Baldwin had no authority over the matters that were the subject of the Bureau’s findings of violations, and we are pleased that the New Mexico officials have clarified these critical issues. We are confident that the individuals identified in the report will be held accountable for this tragedy.
Despite being cleared by the New Mexico OHSB, Baldwin still faces a wrongful death lawsuit from Hutchins’ husband. The set’s armorer has also sued the ammo supplier that provided the live rounds.
Hutchins was fatally shot on the set of Rust in October. Baldwin was allegedly holding the gun at the time, though he insisted he did not pull the trigger. Baldwin was seen heading back to work in February for the first time since the incident. Meanwhile, the lawyer representing Hutchins’ estate believes Baldwin’s refusal to take accountability is “shameful.“
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
