In case you haven’t been on Twitter this week, perhaps you have not been blessed to see Jeremy Allen White’s photo on your timeline with some sort of anecdote about the food service industry. The still is from White’s new show The Bear,a food-centric drama about a young man who takes over his family’s sandwich shop after a tragic death.
Despite playing a savvy chef, White himself is actually a bit self-conscious about his food choices. While speaking to IndieWire, the actor admitted that people might judge him for his go-to food spots in Chicago, where the show takes place. “People are gonna make fun of me,” White began.
“We didn’t shoot Shameless really in Chicago — we shot it in Los Angeles mostly — but we would go kind of like two weeks a season,” White explained. “And there was a Portillo’s, which is like a chain in Chicago, but their Italian beef was very good. It was kind of like my introduction to Italian beef. Also their sausages; they have a really amazing chocolate cake. But it’s like a blue-chip sandwich spot, so I dunno if I’m gonna get like dragged for picking it. But it was my first, so I’d have to say I’ll always have a soft spot for Portillo’s.”
Unlike the show, which is riddled with anxiety-inducing kitchen montages, White said the vibes on set were great. “We knew that we did something really good. The feeling on set was always strong. But then when you put something out there, you just never know.” he added. “You could be thinking you’re making the greatest thing and it just doesn’t touch upon whatever is going on in the zeitgeist and it doesn’t catch.” It seems like it caught!
All episodes of The Bear are streaming on Hulu now.
“You’ve just become part of a bigger universe. You just don’t know it yet.”
When Samuel L. Jackson creeped out of the shadows in 2008’s Iron Man, warning newly-minted superhero Tony Stark (Robert Downey Jr.) that he wasn’t the only one of his kind, he was alluding to the roster of multiverse power players yet to come. But we’d like to think he could have also been foreshadowing Marvel’s role in retconning the all-important after-credits scene. After all, before the studio started slapping running gags and sequel teasers to the end of those “thanks to” rap sheets, a film’s end credits were simply a scrolling list of unknown names that signaled the fun was over, the theater could clear out, and the ushers could sweep up the mountains of uneaten popcorn littering the floor, in peace.
Now, a decade and a half, dozens of movies, and a few phases later, those end credits clips (also called stingers) represent something else – a calling card for a franchise that’s built its cinematic empire by taking a seemingly useless bit of filmmaking real estate and transforming it into a reward for die-hard fans, a way to say “thank you” to those willing to keep their seats warm in exchange for a character tease, a narrative cliffhanger, or a nostalgic nod to a movie’s comic book origins. And while plenty of entries in the MCU like to shock and string-along audiences craving just a bit more superhero lore, there are a select few that have just a bit more fun.
These specific scenes may not be the most important, the most clever, or the most significant, but they are the funniest, and sometimes, when you’re watching a bunch of superpowered weirdos in spandex constantly fend off galaxy-ending genocidal maniacs, all you really want is to laugh a little. These after-credits scenes will probably help with that.
5. The Groot Get-Down – Guardians of the Galaxy
Dave Bautista’s superior reflexes are the butt of the joke in this end-credits scene from the first Guardians of the Galaxy film. The movie gave the MCU a much-needed refresh with its killer soundtrack and space-comedy vibes but, oddly enough, the funniest scene in James Gunn’s superhero adventure was this short clip of the franchise’s most beloved character, AKA Baby Groot, dancing his little twig off to a Michael Jackson track. Not only did this scene comfort any lingering fears that the three-syllable-loving sentient tree hadn’t survived the movie’s climactic fight sequence, but it also schooled fans on who amongst this motley crew of space pirates has the best dance moves – and sorry Quill, it ain’t you.
4. Captain America’s PSA – Spider-Man: Homecoming
With nearly a decade in the game, Marvel was able to have some fun with its own track record of holding audiences hostage at the end of a film in the first Spider-Man MCU solo film. Captain America pops up a few times in the film with cutesy straight-to-camera messages that are played to inspire students at Peter Parker’s high school to be better citizens. He’s the modern-day Uncle Sam poster come to life but he’s in on the gag in this after-credits clip that tries to teach theatergoers the true meaning of the “patience is a virtue” saying by rewarding them with a big ole nothingburger at the end. Who knew old man Rogers had jokes?
3. Tony’s Therapy Session — Iron Man 3
Tony Stark is a man who loves to hear himself talk but he takes that narcissism to an entirely new level in this end-credits scene that retcons the entire film as something of a therapy session. Unfortunately for Stark, his bestie Bruce Banner is just not that kind of doctor. Lulled to sleep by the sounds of Stark’s ADHD-riddled story time, Banner wakes just as his friend is thanking him for being such a good listener. Obviously, the fact that he put his buddy into a temporary coma with one story isn’t enough to stop him from starting another – one that begins with a weird anecdote about having a nanny at 14 – but what’s truly great about this scene is how it represents the friendship between these two mad geniuses.
2. Shwarma Feast — The Avengers
What does one do when they’ve successfully defended New York City against an extraterrestrial attack and hitchhiked a ride to space via a nuclear bomb? If you’re genius billionaire philanthropist playboy Tony Stark, you get your superpowered friends together to stuff yourselves on delicious Middle Eastern cuisine. The visual of these god-like beings binge-eating spiced meats amongst the wreckage of Loki’s failed invasion speaks for itself – literally, there’s absolutely no dialogue in this scene – and the fact that it was an addition sparked by a bit of improv from Robert Downey Jr. makes it feel all the more special.
1. Musical Mayhem — Hawkeye
Like a brightly colored train wreck you just can’t look away from, the Rogers Musical that takes up space as a mid-credits scene in Disney+’s Hawkeye series is trash. Glorious, kitschy, deafening trash. It’s also the greatest use of the end credits genre in cinematic history. For over four minutes a cast of Broadway performers go full force, backflipping, gyrating, and belting on stage while reciting cheesy lyrics narrating the battle of New York that took place in the first Avengers movie. Each original superhero gets their time in the spotlight – though the subtle dig at Hawkeye, who’s described as just a “really nice guy” while the others are praised for their god-like abilities and kick-ass track record, is the standout. But, as ridiculous as this musical interpretation of the MCU is, we’d be remiss not to salute the show for taking a risk. It’s no Cats butthole cut, but it’s certainly close.
Directors Anthony and Joe Russo, a.k.a. the Russo brothers (Netflix is in the brothers business, and business is good), have released the latest teaser for The Gray Man, the most expensive film ever made by the streaming service. You can watch it below.
The colorful fireworks are a nice touch — could it be a nod to the “A Fistful of Paintballs” and “For a Few Paintballs More” episodes of Community, which Joe Russo directed? Probably not! But it’s still fun to remember that the directors of the second highest-grossing movie ever used to work on Community, Happy Endings, and Arrested Development.
Here’s the official plot synopsis:
The Gray Man is CIA operative Court Gentry (Ryan Gosling), aka, Sierra Six. Plucked from a federal penitentiary and recruited by his handler, Donald Fitzroy (Billy Bob Thornton), Gentry was once a highly-skilled, Agency-sanctioned merchant of death. But now the tables have turned and Six is the target, hunted across the globe by Lloyd Hansen (Chris Evans), a former cohort at the CIA, who will stop at nothing to take him out. Agent Dani Miranda (Ana de Armas) has his back. He’ll need it.
A big lesson when it comes to attending concerts is that music lovers are prone to breaking out into violence, whether the performers are delivering the grittiest of raps or the most soothing soul ballads. Now, when fights occur on the floor area where there aren’t any seats and it is a battle for space, it makes sense to an extent. However, in the case of Erykah Badu’s most recent concert where a scuffle broke out in the stands, there are more questions as to how it could have got to that point.
In a Twitter clip posted today (July 8), Badu can be seen on stage taking a drink before asking the concertgoers if they are doing alright. Hilariously, the camera then pans to the stands where multiple women can be seen throwing blows and attempting to remove clothing while one even straddles her opponent as someone yells, “Oh my god!”
It definitely gives off two-on-one handicap match vibes a la WWE, but thankfully bystanders stepped in to break it up. All the while, the 51-year-old continues performing her classic record “Window Seat.” It is unclear whether Badu was aware of what was going on or not, but if any music can heal the vengeful spirits of said fighters, it is hers.
Cordae may have decided that his most recent album, From A Bird’s Eye View, doesn’t quite measure up to his debut, The Lost Boy, but that hasn’t stopped him from continuing to push the new album in new and unexpected directions. The latest is a live, visual version of From A Bird’s Eye View that will include live versions of the album’s standouts “C Carter,” “Chronicles,” “Sinister,” and “Super.” The live version of the album is available now, exclusively on Facebook. You can check it out here.
In addition to promoting From A Bird’s Eye View, Cordae has been busy on other projects, including launching his label, Hi-Level Productions, and explaining his Hi-Level philosophy in an insightful TED Talk. Musically, he recently collaborated with North Carolinian rap crooner Morray on “Still Here,” and is preparing for the European leg of his From A Bird’s Eye View Tour, which will include dates in Amsterdam, Belfast, Dublin, London, Manchester, Paris, Stockholm, and more. You can see the dates for that below.
09/27 — Belfast, UK @ Limelight
09/28 — Dublin, Ireland @ The Academy
09/30 — Manchester, UK @ Academy 2
10/01 — Birmingham, UK @ Institute 2
10/02 — London, UK @ Electric Brixton
10//05 — Brussels, Belgium @ Botanique Orangerie
10/06 — Paris, France @ Elysse Monmarte
10/07 — Amsterdam, Netherlands @ Melkweg (The Max)
10/09 — Cologne, Germany @ Carlswerk Victoria
10/11 — Copenhagen, Denmark @ Lille Vega
10/13 — Stockholm, Sweden @ Klubben
10/14 — Oslo, Norway @ Vulkan
10/17 — Berlin, Germany @ Astra
10/18 — Vienna, Austria @ Flex
10/19 — Zurich, Switzerland @ Dynamo
Cordae is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The Weeknd is kicking off hisAfter Hours Til Dawn Tourtonight to the tune of a sold out show at Toronto’s Rogers Centre. Selling out a 55,000 capacity show in his hometown stadium is a full circle moment for The Weeknd and the magnitude of it all was definitely lost on Drake, one of his earliest supporters. In a video posted to his Instagram Stories, Drake, who just released his latest album,Honestly, Nevermind last month, fawns over hearing The Weeknd for the first time in the driveway of his old Toronto apartment and he was all in his feels about it.
“Ok, look… This right here, this little driveway area right here, this is the first place that I ever heard the Weeknd’s music, right here,” Drake says in the clip, moving the camera over to show the area. He’s borderline gushing and maybe a little emotional from a night out.
He shouts out Oliver El-Khatib (“my brother, of course”) for playing him The Weeknd back then, before continuing with his thought: “This is my old building, in Toronto. We were parked out here, and it was raining. Right here. And that same guy selling out SkyDome tomorrow night… not the Rogers Centre. ‘Cause we just still call it the SkyDome. That man is selling out the SkyDome tomorrow. So I just want anybody that’s trying to do this sh*t to understand… Like, I heard this man’s music right here for the first time. Pouring rain. It’s a great life.”
You have to appreciate not only Drake’s pure love for The Weeknd, but also his commitment to still calling the Rogers Centre the SkyDome, even though the name changed back in 2005. Regardless, Suffice it to say that Drake will be cheering Abel along on stage like an NBA bench-warmer tonight.
After declaring in May that a new album was finished, Death Cab For Cutie are in the midst of rolling out Asphalt Meadows, which is set for release on September 16. They released the lead single “Roman Candles” with the announcement, and now they’ve debuted a new song at last night’s show in Newport, Rhode Island.
The tune is called “From Here To Forever,” and it’s jangly and colorful, not unlike their 2005 hit “Soul Meets Body.” At three and a half minutes, it moves at a playful, lively pace and has a texture of hope. It’s not as experimental as “Roman Candles,” which was much darker, reckoning with “the crippling, existential dread that goes hand in hand with living in a nervous city on a dying planet, and that the only way to be in the moment is to let it all go,” Ben Gibbard said upon the release. “The lyrics were cobbled from a couple of different songs dealing with my general sense of anxiety; the feeling that the fabric that weaves a functioning society together was crumbling during the pandemic.” The worry feels absent from this track, focused more on levity.
Watch the band perform “From Here To Forever” above.
Asphalt Meadows is out 9/16 via Atlantic. Pre-order it here.
Death Cab For Cutie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Ahead of his upcoming Comic-Con appearance, Shazam himself, Zachary Levi has released a first look of the upcoming installmentFury Of The Gods.
Okay, the first look is really more of a short glimpse, but you get to see Levi in his iconic suit and using his powers before saying “just being a tease.” So meta! Levi and Co. will be at Comic-Con at the end of this month, where we can likely expect some more thorough footage.
Not much has been revealed about the upcoming sequel to the hit 2019 superhero movie, but the all-star cast includes Rachel Zegler, Helen Mirren (!), and Lucy Liu, who will all play daughters of the God Atlas, who famously gave Shazam his powers in the first film. Shazam is the buff alter-ego of a teenager named Billy Batson, who gets his God-like powers when he says, “Shazam!” It’s pretty straightforward, right?
This isn’t the only movie getting a first look at Comic Com: fellow DC property Black Adamwas initially supposed to be a part of the Shazam sequel before The Rock managed to secure his own movie, which will also premiere this fall before Shazam premieres in December.
Shazam! Fury Of The Gods hits theaters on December 21st.
However, if you have a backyard smoker and a crew coming over to eat mounds of fatty meats, then this cocktail is the perfect pairing. The key though, is that you need a peaty whisky with flavor notes that lean more into fatty smoked meats and backyard firepits with marshmallows than Band-Aids, oyster pearls, or ashtrays. Not all peated whiskies are created equal.
For that application, you need a little Lagavulin. And while the purists will think it’s blasphemy to make cocktails with Lagavulin 16, trust me, it’s what you want to do here. Say it with me, “the better the spirit you use in your cocktail, the better the cocktail will be.” Use shitty wine in your ragu, your ragu will taste like that shitty wine. The same goes with whisk(e)y or rum or vodka in a cocktail.
Okay, rant over. This cocktail really is a modern twist on a centuries-old classic that just works. So, let’s cut to the chase and stir one up!
Also Read: The Top Five Cocktail Recipes of the Last Six Months
As mentioned above, I’m using Lagavulin 16. You should be able to find it in any decent liquor store. While you can use other peated whiskies, you really need that backyard smoker fattiness to make this a summertime winner. Laga has that in spades. A brinier peaty like Talisker doesn’t quite hit the same note (though their Distillers Edition isn’t far off). That said, if you’re pairing this with a seafood tower, then Talisker would be the play for this drink.
But a peat monster that tastes like licking burnt Band-Aids in a cold Weber (cough, cough, Laphroaig, cough, cough) is a little too overpowering for the Campari and vermouth. On the other end of the spectrum, a super low peaty like Bowmore, Bunnahabbin, or Dalwhinnie kind of gets lost in the mix, especially any of the peatiness since those whiskies are so mildly peated in the first place.
Zach Johnston
What You’ll Need:
Cocktail mixing glass/jug
Cocktail strainer
Rocks glass
Barspoon
Paring knife
Jigger
Zach Johnston
Method:
Add the whisky, Campari, and vermouth to a mixing jug. Add a large handful of ice. Stir until the glass jug is ice cold to touch, about 30 to 45 seconds.
Strain the cocktail into the glass over new ice.
Slice a thin layer of lemon peel off the lemon and express the oils over the cocktail (hold the peel toward the glass and bend across its axis with your thumbs).
Drop the lemon peel into the glass and serve.
Bottom Line:
Zach Johnston
As you can see from my images, you don’t need any fancy cocktail equipment to make a cocktail. I used an IKEA pint glass and straw for mixing and a rubber spatula to strain the drink into the waiting glass. All of my cocktail equipment is somewhere heading towards a container ship on the North Atlantic coast. So I improvised. And you can too. Hell, I’m even making block ice in old Tupperware containers and breaking it up with a hammer like an early-aughts bar hipster in suspenders (insider tip, block ice is actually way better for cooling and keeping drinks cold, so…).
Anyway, this is pretty delicious. The fatty aspects of the Lagavulin meld beautifully with the bitterness of the Campari and the sweetness of the vermouth. It’s kind of like that hint of espresso you get when you use coffee grounds as a rub on a fatty piece of meat before you put it in a smoker. The peatiness gets very sweet on the nose along with the woody botanicals leaning into an almost rock candy sweetness that’s just been kissed with firepit smoke. It’s not quite a singed marshmallow but it’s not far away from that either.
The overall feel of the drink is bold — this is still a Negroni after all. You get those hefty bitter and woody botanicals and roots next to soft and slightly fruity vermouth with a twinge of fatty peated malt all brightened by that spritz of lemon oil. It’s a beautiful drink and the perfect pairing for backyard smoke-out.
Last summer, Sacha Baron Cohen emerged victorious after a judge dismissed a $95 million defamation lawsuit filed by failed Alabama senate candidate Roy Moore. The suit stemmed from a 2018 episode of Cohen’s Who Is America? series on Showtime, which featured Moore setting off a “pedophile detector” and storming off the set after being humiliated. In another legal victory for Cohen, the dismissal was upheld by a court of appeals who agreed with the initial judge’s decision that, obviously, the whole thing was a comedy gag. Also, Moore signed a waiver before the appearance, which has come back to bite him twice.
Now, the 2nd U.S. Circuit Court of Appeals in Manhattan has upheld the lower court’s decision, citing the disclosure agreement. The three presiding judges also found that the “obviously farcical” pedophile detector segment was “clearly comedy” and that “no reasonable person could believe [the pedophile detector] to be an actual, functioning piece of technology.”
According to Entertainment Weekly, Moore plans to file another appeal, and if the case somehow goes in front of the current Supreme Court stacked with Donald Trump appointees, there could be a very different outcome.
In the meantime, the dismissal marks a winning streak for Cohen who had sued a cannabis company for the unauthorized use of his Borat character for a billboard. The two parties reached a satisfactory agreement, and Cohen dismissed the case. The actor also prevailed over a lawsuit filed by the family of a Borat 2 subject who died shortly after filming. The family accused Cohen of tricking Holocaust survivor Judith Dim Evans into appearing in the film. However, Cohen produced footage of him explaining his own Jewish heritage to Evans and detailing how her scene would help battle anti-Semitism. The family dismissed the suit “unconditionally.”
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