She posted a screencap of her with a description on the bottom of the screen that reads, “Lunatic Country Music Person,” next to the Fox News logo. She captioned the picture, “#NewProfilePic.” She didn’t actually make it her Twitter avatar, though that would’ve made it even funnier.
Morris is open about her politics. Last year, she released “Better Than We Found It” and said she “wanted to write something to address exactly how I feel right now, and this came together pretty quickly.” She continued, “It’s a protest song — it’s the most American thing to protest and protest songs have been so embedded in American culture: Bob Dylan, Nina Simone. I think the world right now is sort of in a perpetual mourning period and I wanted to have a song that had weight but also had hope.”
Lil Baby season is here. After an active last few years where many have likened his run to that of late-2000s Lil Wayne and 2015 Future, the Quality Control artist is ready to unleash his third album, titled It’s Only Me.
In a Friday (September 2) Instagram post, the “Woah” artist shared the album art featuring his own version of Mount Rushmore. Similar to Drake’s lyrics on 2018’s “Survival,” Baby’s Rushmore shows four different iterations of the Atlanta rapper from his infancy until today. Beneath the cloud-adorned structure, he sits on a rock flanked by goats, a nod to his lyrics on Drake’s 2021 record “Wants & Needs” where he says, “I’m not the GOAT but I fit the description.”
His caption reads, “‘ It’s Only Me ‘ 10-14-22 I Kno Its Been Along Time Coming But I’m Coming Harder And Harder …… #worththewait,” which also references his early projects Harder Than Hard, 2 The Hard Way, Too Hard, Harder Than Ever, and his collaborative project with Gunna titled Drip Harder. While Baby is seemingly at the peak of his career, one can only wonder if the use of “Harder And Harder” means he is looking to revert back to his early stages but add a 2022 spin.
Check out the It’s Only Me album art above.
It’s Only Me is out 10/14 via Quality Control/UMG.
When Ramin Djwadai’s rousing, unmistakable Game of Thrones theme played as a trail of blood moves around during the House of the Dragon opening credits, I imagined what it would be like if Frasier used the Cheers theme song, but I simply cannot imagine how much sadder my life without the weird scrambled eggs jazz. The use of the Game of Thrones theme is likely, and hopefully not permanent. Perhaps it is a troll, or a manipulative attempt to activate nostalgia just in case anyone wasn’t feeling House of the Dragon yet. Despite using the same theme song for its opening credits, the second episode of House of the Dragon distinguishes itself from Game of Thrones. The second episode, “The Rogue Prince,” immediately explains its six-month time jump. It’s been half a year since the events of the first episode, and the audience gets to fill in the blanks: in the six months since Queen Aemma’s death, Prince Daemon has taken Dragonstone, King Viserys is struggling under pressure to find a new wife, and Rhaenyra doesn’t know how to connect with her father and learn how to rule Westeros.
This accelerated timeline differentiates House of the Dragon from its predecessor (again, despite having the same theme song). Game of Thrones was methodical with its storytelling in a different way: it followed characters so closely that we sometimes saw them use the bathroom, and established the scope of its world by depicting characters traveling from one place to another for an entire season, or longer. In season four of Game of Thrones, Arya and the Hound spend the entire season traveling to their destination of The Vale. In the first season, several episodes follow Ned Stark and Sansa Stark traveling to King’s Landing alongside Robert Baratheon and the Lannisters. Bran Stark, the greatest storyteller of all time, spent nearly the entire series traveling, a storyline that was so irrelevant that he did not even appear in an entire season. In its earlier seasons, Game of Thrones took its time, which made Westeros feel as grueling as it is. When the show accelerated the narrative in its later season, it was jarring and inconceivable. Game of Thrones betrayed the intimate pace that made it so good.
House of the Dragon won’t be making this mistake. Time jumps in television shows are not easy, but when executed well they serve the story, characters, and audience. Mad Men, The Americans, and Halt and Catch Fire, for example, used time jumps cleverly and with intention. Eliminating unnecessary parts of the characters lives moves the story forward, and the unknown can make characters even more interesting. It’s bold for a series like House of the Dragon with completely new characters to do a time jump in episode two. But it works, because we didn’t need to see those six months. We also know that we’ll see even more significant time jumps throughout the season, as young characters including Rhaenyra and Alicent Hightower will be played by older actors. The time jump also feels like a conscious decision to establish that this show is not Game of Thrones, and it suggests an awareness of the mistakes Game of Thrones made with its stark shift in pacing.
House of the Dragon also differentiates itself visually. In “The Rogue Prince,” the show introduces Dragonstone with sweeping shots of it. Prince Daemon and Otto Highwater face off on the footbridge at Dragonstone. It’s a cloudy day on the rocky beach, with a dramatic fog surrounding everyone and camouflaging the castle. But through the fog, the orange sun, far in the distance shines through it, giving a bit of ambient lighting. Rhaenyra shows up on dragonback, her silhouette on top of the creature like a shadow against the sky. The stylish scene gives the series a singular style that we never would have seen on Game of Thrones.
HBO
Along with its pacing, Game of Thrones also had a style shift in its later seasons. Its earlier seasons focused on world-building and performance and thusly were filmed in a more straightforward style reminiscent of period pieces of the 80s and 90s. In its earlier seasons, the lighting and shot composition are simple (though excellent in their simplicity). As the show got more popular it also got more stylish, using modern filmmaking techniques and more visual effects to capture its sprawling fantastical scope. House of the Dragon is showcasing its unique cinematic style instantly with this scene and with lots and lots of candles. Essentially, it relies on sources of light including candles and the sun, a reference to the Targaryen House words “fire and blood.” It’s a little on the nose, yes, but it’s working visually and thematically.
HBO
House of the Dragon knows exactly what it’s doing. In just two episodes, the prequel has separated itself from its predecessor (except for the theme song of course), indicating that it has learned from the mistakes Game of Thrones (or, more accurately, D.B. Weiss and David Benioff) made that sunk the cultural phenomena in its final stretch. Although coming from an established franchise and George R.R. Martin’s source material, House of the Dragon has a distinct style and confident storytelling, rather than a reliance on source material, which makes it feel like a television show that could exist without its predecessor rather than a desperate attempt to keep a franchise alive.
Cobra Kai‘s fifth season will arrive next week, and we’ll get to see (even more) former foes teaming up to take out karate mega-villain Terry Silver. He somehow manages to be much worse than John Kreese (who has shown that he has a soft spot, at least where Tory Nichols is concerned) because Terry’s got zero inkling of a soul. And from there, we’ll see if Daniel LaRusso, Johnny Lawrence, and Chozen (who needs no further introduction) can save the soul of the valley. That might be difficult, considering that Silver’s recruited several new senseis to help spread his slime.
What will happen after Season 5, though? Macchio and Zabka recently sat down with Comic Book to discuss where The Karate Kid is going as a franchise, and Macchio made it known that he is all for a full-on “cinematic universe,” so to speak. Via Comic Book, Macchio declared, “The thing that’s been created, there’s kind of this Karate Kid Cinematic Universe now where Cobra Kai is, you know, at the center of that and when that day does come in for a landing, there are other areas to draw from.”
What are those other prospects? Macchio hypothesized on the possibility of “a Miyagi origin story” or spinoffs about the various younger Cobra Kai characters, along with some sort of Cobra Kai prequel movie that occurs immediately before The Karate Kid. From there, the sky is the limit, and I have a few things that I wouldn’t mind seeing, including more about what Elisabeth Shue’s character has been doing for all these years (which would obviously not be karate focused, but that story’s wide open because Shue has been having a moment) or Jacob Bertrand’s Hawk opening his own dojo.
As far as a Season 6 goes, Macchio doesn’t drop news of a renewal yet, but Netflix likely will want to take the Cobra Kai train as long as possible.
In March 2021, Rhye’s Mike Milosh was accused of sexual assault and grooming by ex-wife Alexa Nikolas, an actress perhaps best known for her role on the Jamie Lynn Spears-led Nickelodeon series Zoey 101. Shortly after, Nikolas filed a lawsuit, accusing Milosh of sexual assault, grooming, and emotional distress. Now, Milosh is taking some legal action of his own: Rolling Stone reports the singer is suing Nikolas’ attorneys, accusing them of knowingly filing a “frivolous” lawsuit that “lacked any legal basis or factual support” regarding the assault allegations against Milosh.
Nikolas dropped the initial suit this past may but she told Rolling Stone she plans to re-file soon.
As for Milosh’s new suit, it says the allegations made against him “were, and still are, complete nonsense” and that the claims were “barred by a fully executed stipulated Judgment” both Milosh and Nikolas signed during divorce proceedings. The suit also notes, “Defendants knew about the Judgment and its preclusive effects. But that did not stop Defendants from filing the lawsuit, hiding the judgment from the Court, dragging Mr. Milosh’s name through the mud, and dismissing the lawsuit only after realizing that Mr. Milosh was not going to give in to their extortion.”
Milosh is asking for over $10 million in damages, suing the law firms Greenberg Gross and Gibbs Law along with the attorneys from the firms who represented Nikolas in her suit. Alan Greenberg, managing partner of Greenberg Gross, told Rolling Stone in a statement, “Milosh’s case is completely baseless and will be thrown out of court in short order.”
As Republicans continue to freak out over Joe Biden’s speech in Philadelphia where he specifically called out “MAGA forces” as a threat to democracy, Marjorie Taylor Greene took things to a whole other level by tweeting out a video of Biden as Hitler. Using footage from Thursday’s night speech with its red backdrop that suddenly has right-wingers concerned with Nazi imagery, Greene shared the doctored video, which still remains active despite Twitter flagging it for having “potentially sensitive content.”
The video shows an actor resembling the president except with a Hitler-esque patch of facial hair below his nose, standing in front of a photoshopped background from Biden’s speech with swastikas added. The audio seems to be a clip from one of Hitler’s speeches, although that has not been verified. (Your friendly neighborhood Mediaite contributing editor does not wish to spend my Friday morning listening to hours of that hateful oratory in order to precisely identify the clip but the voice certainly sounds like Hitler and the content, best I can translate with the poor audio quality, does match his usual topics.)
Not content with just posting the doctored video, Greene wrote the following in the caption: “What we all saw tonight from Biden. I guess when President Butterbeans is frail, weak, and dementia ridden, the Hitler imagery was their attempt to make him look ‘tough’ while he declares war on half of America as enemies of the state. Or it’s real.”
To the surprise of no one, the Biden video originated from an anti-vaxxer Twitter account who loves “offensive” “humor.” (Did both those words require sarcastic quotes? Yes.)
In a recent episode of Nathan Fielder’s comedy doc The Rehearsal, Fielder and his fake wife have differing thoughts on how to raise their fake child in regards to faith. Fielder is Jewish, but she’s a devout Christian who refuses to bring up their temporary child with Judaism. So Fielder drops the kid off at a Jewish school, only to have his real parents pick him up and take him to his real school, before he returns back to the TV show. Two schools? Seems reasonable only on a twisted reality show like The Rehearsal, but a setup similar to this is what Kanye West is proposing for his kids amid the latest dispute with his ex-wife Kim Kardashian, this time about what school their kids should go to.
Kanye West posted on Instagram an “idea” of what he thinks the ideal school setup for his kids would be: To go to the Donda Academy for two days and then spend three days at Sierra Canyon school where Kardashian seems to prefer that they go. For what it’s worth, Sierra Canyon is where LeBron James’ kids attend and where his son Bronny leads the decorated basketball team, but I digress. Because Kanye also proposed an alternative of “3 days at Donda and 2 at Sierra Canyon.” Also adding that this would be “including field trips busing to educational places.”
Kanye has been going on Instagram tirades as of late on the subject. A recent storm of since deleted posts said things like “My kids going to Donda. They not going to Sierra Canyon.” And people feel as if those words were directed at the children’s grandmother, Kris Jenner.
And while the recent “idea” of Kanye’s might make sense to him, one has to imagine what an awkward setup it would be for his children to be shuttled back and forth from one to school to the other on a weekly basis because their parents can’t come to an agreement. He commented on his latest post with “This is co-parenting.” But is Instagram really the place to co-parent? Stay tuned…
Issa Rae’s latest HBO fan favorite, Rap Sh!t, is has wrapped up its first season, but before it says goodbye for the foreseeable future, the show’s creators drop off one last gift: The show’s girl power-fueled soundtrack, which features strip club anthems and trappy turn-up songs from the likes of Dreezy, Jean Deaux, Tokyo Jetz, and more — including the show’s stars Aida Osman and KaMillion, in character as Shawna & Mia. And yes, the signature track “Seduce & Scheme” is here, too, as well as the cheeky track “Tongue” by the show’s viral marketing ploy, Reina Reign.
In her appearance on Late Night With Seth Meyers to promote the show, Issa explained how the show’s anchoring musical landscape was created. Wanting to make the show sound as authentic as possible, she made sure artists like Dreezy and her own Raedio artist NCognita were in the writer’s room, helping to write not just Shawna and Mia’s music but to also compose the whole soundscape of the show’s Miami.
Co-executive produced by Miami natives City Girls, the show follows the exploits of former high school girlfriends, Shawna and Mia, as they reunite and form a rap duo. When their first song goes viral, they decide to ride the wave of its success while trying to navigate the pitfalls of fame, friendship, and the fallout of their pre-rap efforts to make money. The full first season is available to stream on HBO Max.
Speyside whisky is one of the most revered styles on the planet. It’s also one of the most ubiquitous regional styles from a relatively small area. All of Speyside is situated inside Scotland’s Highland region, yet Speyside is home to about 50 distilleries and responsible for around 50% of all Scotch whisky made. That alone means it’s high time to highlight some serious Speyside single malt Scotch whisky worth checking out, especially for beginners.
While “Speyside” sounds pretty black and white, it’s a lot greyer than, say, a peated Islay whisky. The term “Speyside” is pretty loose since, legally, any brand in Speyside can all their whisky either a “Speyside” or a “Highland” whisky, based on their own whims. To clarify, any Speyside whiskey can be called a Highland one, but not the other way around. The Macallan is famously in the dead center of Speyside but labels their juice as “Highland” whisky. Aberlour — right outside of Speyside’s whisky capital, Dufftown — labeled its whisky as “Highland” until very recently. Now it’s a “Speyside” whisky. Marketing teams have more power over labeling than you’ll ever believe.
But we’re not here to talk marketing semantics and legal details. We’re here to talk whisky, damn it! Speyside is a special place for whisky thanks to a relatively drier climate (for Scotland) that’s close to barley fields, seaports, and a supply of very soft water. Speyside famously has a very low mineral content in its aquifers, making for a super soft and supple whisky. Moreover, Speyside’s whiskies are (very) generally unpeated, and lean into soft orchard fruits (especially apple and pear), dried fruits, soft spices, nuttiness, and honey sweetness. Naturally, there are a million variables at play, from mildly peated whiskies to special barrel finishings, but that’s the general gist.
Now that you know what a Speyside whisky generally is, let’s find you the perfect beginner’s bottle for your bar cart. I like all of these bottles, so the reviews are going to be positive across the board. It’s on you to look at the tasting notes and decide where to dive in.
Also Read: The Top 5 UPROXX Scotch Whisky Posts of The Last Six Months
This is an entry whisky to Speyside and single malts in general. The juice is aged in a combination of used American and European oak before it’s married, rested, proofed with Speyside’s iconic water, and bottled.
Tasting Notes:
This dram is creamy like a vanilla pudding with a bright pear orchard vibe, some mild toffee, and hints of sweetgrass next to mild oak. That leads towards a very easy and soft woodiness with a touch of candied pear and more vanilla cream before hints of soft cinnamon spice poke up in the background with those soft malts. By the end, it’s clear how light and approachable this whisky is as that pear, vanilla cream, and mild spice slowly fade away, leaving you with a silken mouthfeel and just enough malts and toffee.
Bottom Line:
This is a great place to start a Speyside journey. The malt is deeply hewn and carries the signature flavors of the region. I find it a little watery on the finish, so I tend to mix cocktails with this more than using it as a sipper. It’s a great foundation to build a nice drink on.
This tiny whisky is part of their Last Great Malts range from Dewar’s. The juice is a rare release from a distillery that releases bottles every few years (this bottle dropped back in 2014).
Tasting Notes:
The nose bursts forth with notes of ripe apples and pears next to a seriously creamy vanilla base with touches of orange blossoms and soft cedar bark. The palate wraps those apples and pears into a soft and buttery puff pastry with plenty of soft spice and brown sugars as the vanilla thickens into a pudding with the florals, becoming slightly more dried towards the mid-palate. The finish hoists those stewed apples and pears onto center stage as the mild spice gently fades away.
The Bottom Line:
This is a great pick if you’re already a fan of Dewar’s blended whiskies. It’s a clear progenitor of that flavor profile that’s wholly distinct. It’s also a little rarer, which makes it a nice grab if you’re looking for something a little less instantly recognizable.
This is the whisky that launched the “double aging” trend back in 1982. This unpeated single malt spends 12 years mellowing in ex-bourbon casks before it’s transferred to ex-sherry casks for a final maturation of nine months. Finally, the whisky is vatted in a “tun” where it rests for three to four months before proofing and bottling.
Tasting Notes:
Soft and floral honey mix with a hint of vanilla extract, sweet red berries, and wine-soaked oak. The palate meanders through light touches of marzipan with a hint of cinnamon and fields of plum trees with a whisper of tree bark and leather lurking in the background. The finish lets the spicy malt kick in with a dose of hot cinnamon and honey tobacco.
Bottom Line:
This is another great, subtle entry point to the region. The palate basically hits all of the classic notes while staying light and inviting. That said, this is much more of a cocktail base than a sipper too. This with a little egg white, honey syrup, and citrus makes a hell of a sour.
Arranta translates to “bold” and this whisky leans into that. The juice is aged for an undisclosed amount of time in first-fill ex-bourbon casks (that means this whisky was the first thing to go into those casks after they were emptied of bourbon). Those barrels were then vatted, proofed, and bottled without filtration.
Tasting Notes:
Pear candy and honey lead the way on the nose toward woody spices, light leather, and a hint of sour apple skins and stems. The palate is sweet and malty with a drive from pear flesh to pit, skin, and tree with floral honey and wet coconut leading to a hint of creamy vanilla sauce dusted with cinnamon, nutmeg, and allspice. The end leans into pears soaked in honey and nutmeg with a hint of old porch wicker and worn leather gloves on the finish.
Bottom Line:
This is a nice pour that works as well as a sipper as it does as a cocktail base. When I say, “sipper,” I mean that in an on-the-rocks application. It’s just an easy drink all around, with a nice depth to it and a little extra kick thanks to those slightly higher ABVs.
The bulbous bottle from The Glenrothes is all about the sherry. The expression spends an undisclosed amount of years in first-fill sherry casks. When those barrels are just right, the whisky is then batched and vatted before being proofed down only slightly.
Tasting Notes:
The nose bursts forth with butterscotch. Once that fades, hints of worn leather, orange peels, and nutmeg mix underneath that butterscotch nose. The palate is nutmeg-forward with a spicy orange zest kissed with dark chocolate and vanilla. The end feels a bit like eggnog laced with orange zest and vanilla with a spicy warmth.
Bottom Line:
This is a nice example of a bold sherry cask on a Speyside whisky. Those layers of orange zest and dark chocolate run deep with a decent sweetness from top to bottom. That said, I tend to use this for on the rocks or highballs with a dash of Angostura bitters (which adds a nice accent to the spices).
This Speyside single malt is aged in ex-Oloroso and Pedro Ximenez sherry casks for, you guessed it, 15 years. Those barrels are selected for their distinct flavor profile and vatted, proofed, and bottled without filtering.
Tasting Notes:
Apple juice slowly boils down to a cinnamon-spiced apple sauce on the nose as a hint of dry firewood sneaks in. The palate is part warm malts and part sweet orchard fruit with a hint of burnt orange and more of the dry wood. The end is light but carries a hint of warm spice and sweet fruits.
Bottom Line:
This is another great sherry-casked whisky. This is a tad subtler than the bottle above but carries a very similar flavor profile, hence they’re right next to each other on this list, and both are kind of the middle of the road taste-wise.
This Speyside whisky rests mostly in ex-bourbon casks. The final product adds in a few barrels from Europe to mellow out the heavier bourbon barrel flavor notes. That blend is then cut down to a low 80 proof for bottling.
Tasting Notes:
The nose opens with hints of cedar and winter spice underneath caramel candies, roasted almonds, and a hint of stewed orchard fruits. The palate primarily carries on those flavors with a subtle hint of bourbon vanilla and spicy tobacco warmth attached to the maltiness with an echo of dark chocolate-covered hazelnuts. The finish leans into the cedar and tobacco with a slightly mineral water base.
Bottom Line:
This isn’t as washed out on the finish as a lot of other 40% ABV whiskies. That’s kind of a miracle. The overall vibe is very accessible, making this a very solid and easy sipper with a rock or two.
The Beast of Dufftown hails from a tiny yet beloved Speyside distillery. The actual whisky is also made on their smallest still, nicknamed “Wee Witchie.” That juice then goes into ex-bourbon and ex-sherry casks for 12 years. Finally, those whiskies are married, proofed, and bottled.
Tasting Notes:
This is subtle yet engaging with a nose of almost burnt toffee next to bright red berries, mild spice, hints of oak, and a bit of cedar. The palate leans into the berries by becoming jammy with more of that toffee and a mild sense of spicy tobacco arriving late. The end is long-ish with a plummy chew next to that tobacco and malty spice.
Bottom Line:
These top three are all great picks and each carries a unique profile. When it comes to Mortlach, you’re getting an introduction to a whisky drinker’s distillery. A glass of this over some rocks is a great sip. A cocktail made from this is a great cocktail. This is versatile juice that brings serious depth.
A’bunadh (ah-boon-arh) means “the original” in Gaelic and the juice in this Highland bottle represents that for Aberlour. The whisky is matured in old Oloroso sherry casks exclusively. The juice then goes into the bottle at cask strength, unfussed with.
Tasting Notes:
That sherry plumminess is evident right up top, with hints of bright orange oils, clumps of dark chocolate, honey, and nuts, and a hint of oak. The taste shines with notes of dark, ripe cherries, prunes, more bright orange zest, dark chocolate, and a good measure of svelte vanilla. The slow finish leaves you with a creamy mouthfeel next to bitter chocolate next to sweet cherries and plums, all of which lead towards a warming spice on the tongue at the end.
Bottom Line:
This whisky has the biggest flavor profile on the list, but it misses out on the number one slot because it’s not necessarily the most unique profile. This is classic, thick, and deep. It’s amazing on its own but makes on the best Manhattans money can buy (or a Rob Roy if you will). All of that said, you need to be ready for a big and bold whisky with serious depth. There’s no lightness here, but there are some serious rewards for your senses.
Cragganmore is an iconic Scottish distillery. The whisky is matured in sherry casks for 12 years. It’s then transferred into American oak casks that held port for a final maturation phase before proofing and bottling.
Tasting Notes:
Fennel leads to dried fruits — sultanas, prunes, dried fig — and fresh apples on the nose with a hint of tartness and skin. The taste, on the other hand, leans into sweet oak, pear candies, fresh figs, and a softness that’s almost hard to believe. The end is full of sweet fruits — think ripe pears, green tomatoes, and star fruit — and has just the right touches of soft oak, oily vanilla, and savory green herbs as it fades towards a final note of wet wicker right after a rain storm.
Bottom Line:
This is everything you want from a Speyside whisky plus a wonderful whole other galaxy of flavors. Overall, this (and the Aberlour above) are the bottles I have on my bar cart right now with backups at the ready. This over a single rock is bliss.
“I had heard of OnlyFans. I had never been on there, so I didn’t even know really what it was. But I heard obviously a lot of different things,” the Wild Things and Tammy and the T-Rex actress said on Thursday’s Jeff Lewis Live. Those “different things” colored her perception of the platform, but when Sami Sheen, her teenage daughter with ex-husband Charlie Sheen, told her that she was going to join, “she reassured me that she was going to keep it very tasteful to mainly, like, bikini stuff, bathing suit, stuff like that.”
“The reason why I wanted to join was because she got so much backlash for that that I didn’t think it was really fair,” she explained. “And I’ve done things in my career… You know, I’ve done Playboy, and I was in Wild Things, and I’ve done sexy shoots before promoting movies and stuff like that. And sometimes people say negative things — well, a lot of times they do, and a lot of times they don’t.” But usually they do. She continued:
“I thought, this is not fair that she would be getting so much backlash when a lot of people post stuff like that on Instagram. Not to take it as far as you can take it on OnlyFans, obviously. But still, I just felt that it was not fair for her to get that kind of backlash.”
You know what also got backlash? Starship Troopers, which Richards starred in. Am I comparing Sami Sheen and her mother’s OnlyFans accounts to a mid-1990s Paul Verhoeven movie with Casper Van Dien, Michael Ironside, and a bunch of alien bugs? Yes, but mostly to remind you that Starship Troopers rules.
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