Every once in a while, writers for a big hit show love to throw in some little tidbits here and there to make the dialogue more interesting. Let’s be honest, sometimes they need some filler words for their allotted 60 minutes of screen time, and they might need to get creative!
In the latest episode of House of the Dragon, you might have noticed a peculiar name. Okay, yes, they all have non-conventional names, but Daemon and Corlys are pretty standard for the George R. R. Martin lore. While at the council meeting, Queen Alicent, now portrayed by Olivia Cooke, asked about Lord Grover Tully, whose family is ruling the Riverlands. The brief name drop was nothing major…unless you are familiar with the Muppets/GOT crossover that takes place in the book series.
In Fire & Blood, Martin’s Targaryen-focused installment in the series, he introduces various family members with…familiar names, via Polygon:
Then as now, the riverlords were a fractious, quarrelsome lot. Kermit Tully, Lord of Riverrun, was their liege lord, and nominally commander of their host…but it must be remembered that his lordship was but nineteen years of age, and ‘green as summer grass,’ as the northmen might say. His brother Oscar, who had slain three men during the Muddy Mess and been knighted on the battlefield afterward, was still greener, and cursed with the sort of prickly pride so common in second sons
There is Kermit, the “green” Lord, and Oscar, the “prickly” brother. Their father’s name? Elmo! See, even Martin can have a sense of humor in between slaughtering fan-favorite characters.
There are Muppet references sprinkled throughout the novel, so there might be some more references to come throughout the series. Maybe Rocco will make his debut?
Remember when DaBaby was an exciting new artist that you just wanted to root for? Not only are those days long gone, but it also doesn’t look like they’re coming back. The North Carolina rapper seems determined to burn through whatever slivers of goodwill he has left with his new album Baby On Baby 2, starting with lead single “Boogeyman.” DaBaby already caught hell on Twitter for lyrics that reference having sex with Megan Thee Stallion and her alleged shooting by Tory Lanez, but he’s doubling down in the Nightmare On Elm Street-themed music video, which features an MTS lookalike reacting to the line.
Give him credit; the video has the same level of planning and budget he’s always put into his visuals. It has a horror movie/Scooby-Doo-inspired intro sequence in which a group of intrepid teens ventures into a creepy basement. DaBaby himself pops out as a Freddy Kruger-esque gremlin and chases the kids into the haunted house above.
No, really this time, it’s right there in the title: Halloween Ends.
The third film in the recent Halloween trilogy (and the 13th installment in the franchise, but only the fourth that’s considered canon — the real horror is making sense of the timeline) has Jamie Lee Curtis returning for one. last. job. That job is putting an end to Michael Myers’ reign of terror, which, with all due respect, she’s not very good at it. It should not take four decades to kill a dude in a William Shatner mask. Maybe this time.
You can watch the Halloween Ends final trailer above. Here’s the plot synopsis:
Four years after the events of last year’s Halloween Kills, Laurie is living with her granddaughter Allyson and is finishing writing her memoir. Michael Myers hasn’t been seen since. Laurie, after allowing the specter of Michael to determine and drive her reality for decades, has decided to liberate herself from fear and rage and embrace life. But when a young man, Corey Cunningham, is accused of killing a boy he was babysitting, it ignites a cascade of violence and terror that will force Laurie to finally confront the evil she can’t control, once and for all.
Michael Irvin is, typically, a staple of First Take‘s Monday morning lineup of guests opposite Stephen A. Smith, but with the Cowboys playing on Monday Night Football this week, the Playmaker moved his appearance to Tuesday morning in order to sing the praises of the Cowboys to Stephen A. after they improved to 2-1 with a win over the Giants.
Irvin, who remembered his glasses for First Take, worked himself into a full-on sermon while talking about the Cowboys defensive line, which he described multiple times as “finger licking good,” and CeeDee Lamb, who he got biblical with about redemption and valor.
It was terrific television and even noted Cowboys hater Stephen A. could only chuckle at the Playmaker’s antics — as did Keyshawn Johnson who seemed to be trying to figure out why he was even there, but was enjoying the show. After delivering his sermon, Irvin was in a full lather and needed half a roll of paper towels and an actual towel to pat himself down with because he’d worked up a sweat.
The best part of this is it comes after a game few would’ve called particularly good or exciting (aside from a touch of late drama when the Giants got the ball back down a touchdown, only for Daniel Jones to throw an interception that was hard not to see coming). Still, a win is a win and the defense does look good (not sure if it’s “finger-licking” or not), so we’ll let Irvin enjoy the moment and maybe he should start the show with the sweat rag nearby next time.
With the death of Queen Elizabeth II putting the Royal Family in the spotlight as it handles King Charles III‘s ascension (and the continued drama between his estranged son and daughter in law, Prince Harry and Meghan Markle), Buckingham Palace is reportedly freaking out about the upcoming season of The Crown. According to sources, Charles’ rise to the throne has not been smooth thanks to his frequent frustration with writing utensils, and the last thing the new king needs is a Netflix series dredging up his tabloid divorce from Princess Diana, and her subsequent death, of course.
The Crown Season 5 will reportedly focus on the ’90s and star Dominic West as Charles as he continues his mistreatment of Diana, who will be played by Elizabeth Debicki, who is an absolute dead ringer for the late Princess of Wales. Again, the timing is not great for the Royal Family following the Queen’s death, but the cat’s been out of the bag on this one for a long time now. Via The Cut:
Considering Charles’s affair with Camilla Parker-Bowles and Diana’s torturous time in the palace has been well documented, they’re about three decades too late, but sure. One source apparently stressed that the show is “a drama, not a documentary,” and another insider accused Netflix of having “no qualms about mangling people’s reputations.” Apparently, “the timing could not be worse,” considering England seems to have actually warmed to the king since he stepped into his role.
The fifth season of The Crown will also feature Imelda Stanton as Queen Elizabeth II, which has caused the Royal Family to demand yet another content warning for the Netflix series. This time, on the grounds that it’s “exploitative” following her majesty’s death.
As Putin’s war in Ukraine began, word began to spread about how ill-prepared the Russian army felt for a cause that they didn’t even want to fight. Audio footage of Russian Army officers revealed that they were incensed about the situation, and the situation has grown much worse with much of the army losing their lives to such a degree that no more willing soldiers could be found, even in prisons. Putin then stomped his foot and decided to mobilize 300,000 men into the war, and that’s even led to his regime handing draft papers to protesters upon their arrest. There’s a mass exodus out of Russia, but those soldiers on the frontlines are still feeling the pain.
Via the Daily Beast, Ukrainian intelligence intercepted a phone call (which they posted on Facebook) that reveals a frontlines soldier speaking to his lady partner about his frustrations and fears. Putin is threatening hefty prison sentences against Russian soldiers who choose not to continue fighting, and the soldier talked about the dire nature of what he’s enduring:
“I need to get wounded,” he quickly responds before going on to tell her his morale at the moment is “complete sh*t.”
“Earlier there was a joke that you’d leave here only wounded or dead. Now it’s not a f*cking joke,” he says.
He then goes on to inquire about “f*ck face” Putin’s speech to the nation, which he said he had heard had included some supposedly “comforting words.”
It’s not great over there, to say the very least. By late July, half of Russia’s army had reportedly died or sustained wounds that took them out of commission. Meanwhile, Putin’s waving nuclear threats around and claiming that he will soon annex many areas of Ukraine in a war with no end in sight.
Pusha T is at it again. After penning the “Spicy Fish Diss” for Arby’s dissing McDonald’s’ Filet-O-Fish sandwich, the Virginia rapper once again takes aim at the fast food giant with “Rib Roast,” a Western-themed takedown of the Golden Arches’ beloved McRib. “McDonald’s, what you selling, mystery meat?” Push sneers. “Pop up and go away, what does history teach?” Somehow or another, he manages to make it through the whole thing without sneaking in a bar about cocaine… Growth?
For what it’s worth, Arby’s signing Pusha to be its official attack dog has proven to be pretty lucrative for Arby’s. According to an Apex Marketing estimate in March, the jingle/diss track was worth more than $8 million in advertising for Arby’s, whose previous tagline, “We have the meats,” has become pretty ubiquitous if not particularly enticing. It’s also proven a worthwhile endeavor for Pusha, who allegedly penned the “I’m Lovin’ It” jingle for McDonald’s for a flat fee and never got a royalty check. Considering he’s been after Lil Wayne for over a decade over who wore a hoodie first (and subsequently expanded that feud to include Wayne’s protege Drake), this whole fast food beef (heh) offers him the perfect excuse to exercise his petty and get paid for it.
Watch Pusha T and Arby’s’ “Rib Roast” video above.
When the lineup for the inaugural Portola Music Festival in San Francisco dropped in May, nobody could believe the collection of talent that Goldenvoice had amassed for its new electronic music festival. Top to bottom, it was one of the most comprehensive lineups of the year — for any kind of music festival. It seemed like every buzzy act across a wide swath of electronic music and then some was captured on this bill, and fans across the country were jealous of what was coming to the Bay Area in September.
And the fact that it was happening on the historic 60-acre Pier 80 complex, the largest cargo terminal in San Francisco, made it even more intriguing. While most cargo traffic these days comes in across the Bay in Oakland, San Francisco’s old waterfront piers remain in a state of flux regarding their future use. So for Goldenvoice to secure the Pier 80 site to kick off Portola — from the notoriously slow-moving SF Port Authority no less — felt like a coup in and of itself.
The 400,000-square-foot Warehouse Stage greets you as soon as you walk through the festival gates. And 400,000 square feet is as big as it sounds. This might’ve been the largest warehouse I’d ever been in, with a second row of speakers midway down to relay the tunes all the way through. On Saturday night, Jamie XX showed yet again that he’s one of the best selectors in the world, jumping from soul to dub to jungle, progressive breaks and techno, telling a story with each record he spins. He closed his set with his own “Gosh” and “I Know There’s Going To Be (Good Times),” but the rustic vaulted ceilings of the warehouse bounced as much sound from the music as it did from the endless chatter from the crowd. Kelly Lee Owens’ Saturday set was much better suited for the area, with the way she constantly pushes the envelope vocally as her cascading intonations ricocheted off of the ceiling in heavenly fashion.
The Warehouse Stage was the same area that Charli XCX on Saturday and Fred Again.. on Sunday drew the largest crowds of the entire weekend. But this gave rise to Portola’s biggest sticking point that made the rounds on social media. The ingress into the Warehouse consisted of a series of wrap-around lines into a single entrance that felt like waiting for a ride at an amusement park or a crowded airport. When the festival announced that the stage was at capacity shortly after Charli began her set — a message that was sparsely delivered considering overloaded cell towers in the area couldn’t handle the influx in traffic and made cell service a luxury — many dozens of people waiting in line took matters into their own hands and hopped the barricades into the outdoor VIP section and into the warehouse; a rise of the festival proletariat, if you will.
Videos circulated on Twitter (filmed from the VIP section) where people scoffed at the sight and local and national media outlets picked up the story, some even likening it to the Astroworld tragedy. This felt like a click-hungry take on something that, while related to crowd control, was definitely not the same. Yes, Portola underestimated the draw of two of their acts on this otherwise enormous area. But there were no injuries, no arrests and the festival said it, “…was quickly addressed and corrected.” Insinuating that this was akin to Astroworld is disrespectful to people who suffered in Houston and whose lives were changed forever. This wasn’t even in the same galaxy.
Beyond the behemoth warehouse, the vast majority of the festival footprint lay ahead. The Pier Stage was the festival’s main area and had epic views of the San Francisco skyline, while people danced on a massive carpet strewn atop the pavement as the fog crept in each day. Here, headliners The Chemical Brothers kicked off their set with “Block Rockin’ Beats,” a track that hits as hard as it did 25 years ago. Their expansive visual display dominated the Portola landscape on Sunday night, like a big beat Big Brother following you around as the duo’s career-spanning set pounded away (even if the sound did bleed notably into other areas.) Earlier in the day at the Pier Stage, Toro y Moi at sunset was a welcome shift from a weekend’s worth of bass, and early in the evening, James Blake sucked me back in when I heard him playing 2010’s sublime “CMYK.”
Alive Coverage
But the gems of the weekend were tucked away on the smaller Ship Stage, and especially on the farthest corner of Pier 80 where the Crane Stage low-key stole the show all weekend. Apart from an array of (pretty cool) disco balls that Portola used as its calling card, it felt like the festival cut corners on art and visuals all weekend. Instead, organizers relied on the industrial venue’s characteristics to do the heavy lifting. While it was a big missed opportunity to incorporate artwork and installations throughout the grounds, the Crane Stage was perfectly planned out. A giant container crane hovered over the tent that housed the music and inside, lighting rails and nine disco balls along the tent’s ceiling made for unforgettable audiovisual moments like Fatboy Slim mixing Underworld’s “Born Slippy” into his iconic “Praise You.” Peggy Gou’s Sunday set had the Crane Stage as packed with revelers and Gorgon City closed out Saturday night with a bang.
On the Ship Stage, a dance tent popped up in front of a gigantic old cargo ship (everything on Pier 80 is large, if you couldn’t already tell) and despite an incredibly inconsistent soundsystem, acts like Caribou, DJ Shadow, and Drama still managed to stand out. Shadow’s set was bursting at the seams, as he traversed the lineage of his most notable samples across his indelible productions (but yeah, the sound was lacking.) Drama gave one of the festival’s best performances, with singer Via Rosa and producer Na’el Shehade sounding like a stripped-down Basement Jaxx set that leaned towards R&B instead of house.
By all accounts, Portola was a spectacularly-curated affair. But it really felt like we were witnessing a proof of concept more than the finished product of what it could become. There are many kinks that need to be ironed out. Besides inadequate cell service and the sound quality issues that you’d expect in open-air tents, there is much that can be learned from the flow of the crowd in year one. VIP areas were too big for the amount of VIP ticket holders. At all stages, the GA areas were packed, with more than enough room to spare in the VIP zone. Some adjusting is in order.
The warehouse stage got to be a sh*tshow twice. There’s actually a second 400,000-square-foot warehouse on Pier 80 that perhaps could be used in the festival’s next iteration. Garbage cans were often overflowing and cups, aluminum, and plastic bottles were all over the grounds. SF’s Outside Lands has built an incredible relationship with Clean Vibes, an organization that has helped the festival maintain a tidy playground all weekend en route to achieving over 90% trash diversion rate. Portola would be wise to follow suit. And again, visual art needs to be stepped up. The disco balls were rad and the one disco chicken installation was fun. But more, more, more. In the warehouse, too. Maritime disco aesthetic anyone?
Alive Coverage
But for all that didn’t necessarily meet the expectations production-wise, it’s truly the music that I’ll remember most about Portola Festival’s maiden voyage. Stumbling into Arca’s Saturday night set below the Ship Stage’s many disco balls was a magical trip. Playing on Author & Punisher’s industrial metal instruments, Arca delivered the most visceral and provocative set of the weekend. One of the instruments moves like a circular saw on rails and every time Arca pushed it to the end of the line, a frenetic thump would blast. My only regret was arriving midway through and missing part of the set, because good god did I want more. Then back on Crane, Four Tet + Floating Points closed out the weekend with a two-hour set. What a vibe and what a glorious, glorious rave. It was good to the last drop of Four Tet’s “Looking at Your Pager” sending us back to our respective abodes.
“I’ve been a DJ since 1984 and I truly love what I do,” DJ Shadow said to the crowd on Sunday afternoon. “It’s an honor to be able to do this for different audiences and different contexts.” He embodied the gratitude that the DJs showed all weekend for the fans and it was certainly reciprocated. Here’s hoping we’ll get a chance to do it again next year.
Family Guy has made fun of hundreds of celebrities over 21 (!) seasons, but as far as I can tell, never Chloë Grace Moretz. So why does the actress have a negative association with the animated show? Because it reminds her of a “horrific” meme.
In 2016, photos of the Let Me In and The Peripheral actress bringing pizzas to her hotel appeared beside a still from an episode of Family Guy. She was being compared to Legs Go All The Way Up Griffin, Peter’s great-aunt who is all face and legs, literally.
“For a long time I was able to be the Chloë that people see and the Chloë that I am in private. Then those two worlds collided and I felt really raw and vulnerable and open. And then came the onslaught of horrific memes that started getting sent to me about my body,” Moretz told Hunger magazine. “There was one meme that really affected me, of me walking into a hotel with a pizza box in my hand. And this photo got manipulated into a character from Family Guy with the long legs and the short torso, and it was one of the most widespread memes at the time.” She continued:
“Everyone was making fun of my body and I brought it up with someone and they were like, ‘Oh, shut the f*ck up, it’s funny.’ And I just remember sitting there and thinking, my body is being used as a joke and it’s something that I can’t change about who I am, and it is being posted all over Instagram. It was something so benign as walking into a hotel with leftovers. And to this day, when I see that meme, it’s something very hard for me to overcome.”
The memes haven’t kept Moretz off social media, but she uses Twitter as it ought to be used: for video game recommendations.
So.. Now the beta is offline what should I be playing in the meantime..?! I rotate through vanguard, ffxiv, gta online, Cold War
It looks like one of the contestants in yesterday’s (September 26) Twitter feud was forced to bow out. Cardi B and Atlanta rapper Akbar V were the trending topics of the day after what started as a subtweet turned into an explosive argument. Insults were traded, sex tapes were posted, and now, Akbar V’s account has apparently been suspended, although it’s unclear why or whether it was voluntary.
Lmaooo not Akbar got suspended. Don’t play with Cardi B then you have to deal with bardigang pic.twitter.com/IyUxRLRmZb
The two rappers spent an hour or so on Monday going back and forth, culminating in Akbar crying foul after Cardi posted an explicit video of her on the timeline. However, after Cardi had deleted the video in response to Akbar’s protests, fans in the comments pointed out that Akbar herself had already capitalized on the tape, using a still from it as a single cover (to be clear, this doesn’t make Cardi less wrong). It’s a whole mess, but it looks like Akbar won’t be able to continue the beef — at least, not on Twitter — for a while.
In some fans’ views, Akbar was lashing out at Cardi as a proxy for Nicki Minaj, with whom Cardi had another well-publicized feud a few years ago and Akbar recently collaborated. Interestingly, while all this was going on, Nicki was beefing with YouTube for age-restricting her booty-filled new video for “Likkle Miss” featuring Skeng.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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(@DearBelcalis)