Year: 2022

After sharing a few new tracks in 2021 with her re-released project Beam Me Up Scotty, Nicki Minaj is gearing up for her first new music of 2022. Last week, the rapper began teasing a joint track with Lil Baby and ahead of its official release Friday, Minaj dropped a cinematic trailer for the upcoming collab, “Do We Have A Problem?”

The trailer parodies a big-budget film and presents Minaj as a special agent tasked with interrogating someone who claims to be a “high-powered hitter.” He ominously informs Minaj that “the heads of the world’s top criminal organizations will meet” the following night, saying it’s possible to “acquire rare items that money can’t even buy.” After the trailer shows clips of Minaj’s fellow agents infiltrating an opulent building, the man leaves Minaj with one last message: “So you take out the target, you become the f*ckin’ target.” While Lil Baby doesn’t appear in the trailer, his verse is briefly previewed in the last few seconds of the clip.

Apparently, the trailer isn’t the only way Minaj is getting her stans to hype up the new single. She also set up a hotline where her fans can call in with problems they need Minaj’s help solving. “Did you guys leave a message on the hotline?” the rapper asked her fans on Twitter. “Tmrw when I go on live I’ll be responding to some of your voicemails & giving you advise about whatever the ‘problem’ is.”

Watch Minaj and Lil Baby’s “Do We Have A Problem?” trailer above.

WARNING: Spoilers for The Book of Boba Fett below.

After The Book of Boba Fett Episode 5 saw the return of Din Djarin a.k.a Mando, Star Wars fans went nuts for what was essentially the Season 3 premiere of The Mandalorian. However, while the epic Darksaber-wielding episode was an absolute blast, it also noticeably had nothing to do with The Book of Boba Fett, which only highlighted growing criticisms that the spinoff is falling way short of matching what makes The Mandalorian so great. And, now, Kevin Smith has entered the fray.

During a recent episode of his Fatman Beyond podcast, Smith shared his biggest problem with The Book of Boba Fett: you see way too much of the dude’s face. As Smith elaborates, Mando showing up in Episode 5 only exacerbated the problem that Boba Fett just doesn’t have the same mystique anymore. Via Comic Book:

“One of the things I loved about Boba Fett through most of my life is that we never took his helmet off,” Smith explains. “And in Boba Fett now, Episode 4 or whatever [Chapter 5, actually], we are accustomed to Boba Fett just going au natural Charlie Brown style and stuff. And it don’t matter; I understand storywise he’s not a Mandalorian and so forth and such – like I’m not dumb. I’m just saying this episode, seeing Din Djarin… seeing this guy never take his helmet off just makes every scene cooler. Where you’re just like ‘I don’t know what he’s f*cking thinking.’”

With only two episodes left in The Book of Boba Fett, the series could make moves to draw Boba Fett more firmly into Mandalorian culture addressing Smith’s concerns. Or the show could simply content itself with Boba Fett riding a Rancor, and then it’s back to The Mandalorian where the real action is. And by real action, we mean Baby Yoda. Always assume it’s Baby Yoda.

The Book of Boba Fett is currently streaming on Disney+.

(Via Comic Book)

Spotify is in a tough spot right now. The Joe Rogan Experience is a tremendously popular podcast, but the titular host has prompted Neil Young to actively protest the platform and take his music off of it. Other artists, like Joni Mitchell, have joined Young in removing their work from Spotify, and now Graham Nash — Young’s former bandmate in Crosby, Stills, Nash & Young — also wants his music taken off.

Nash wrote in a statement shared this morning:

“Having heard the Covid disinformation spread by Joe Rogan on Spotify, I completely agree with and support my friend, Neil Young and I am requesting that my solo recordings be removed from the service.

There is a difference between being open to varying viewpoints on a matter and knowingly spreading false information which some 270 medical professionals have derided as not only false but dangerous. Likewise, there is a difference between misinformation, in which one is unaware that what is being said is false, versus disinformation which is knowingly false and intended to mislead and sway public opinion. The opinions publicized by Rogan are so dishonest and unsupported by solid facts that Spotify becomes an enabler in a way that costs people their lives.”

He posted a similar statement on Instagram as well, in which also notes, “It should also be acknowledged that many younger musicians, and many musicians of all ages, rely on platforms like this to gain exposure to a wider audience and share their music with the world. Not everyone is able to take steps like this which is all the more reason that platforms like Spotify must be more responsible and accountable for the content they are obligated to moderate for the good of the public at large.”

Nash’s most popular song on Spotify is “Better Days,” a highlight from his 1971 debut solo album Songs For Beginners. It has racked up about 22.6 million streams.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Doja Cat has canceled yet another performance over COVID concerns, this time her upcoming set at the 2022 BRIT Awards, where she’s nominated international artist of the year and best international song for “Kiss Me More,” featuring SZA. Doja announced the cancelation in a tweet, revealing that “numerous” members of her crew had tested positive for COVID-19.

“Unfortunately, due to cases of COVID within my crew, I will no longer be performing at the Brits,” she wrote. “My team and I have been in rehearsals for weeks and despite taking the utmost caution, numerous members of my crew (both on and offstage) have tested positive for COVID. It’s simply not safe for us to continue to rehearse together and put each other in harm’s way. I can’t wait to perform for my UK fans as soon as I can. Take care of yourselves.”

Before this, Doja Cat’s participation in the iHeartRadio Jingle Ball tour was also canceled after she tested positive herself. It was the second announced time she’d tested positive after contracting the bug in summer of 2020. Perhaps these cancelations could be a blessing in disguise, though, offering the blossoming star an opportunity for rest after expressing frustration with the pressures of her career. Hopefully, she’ll recover soon and be able to get back to doing what she loves, performing and making music.

Does Mitski really want to be here? The 31-year-old indie star has been sending mixed signals for a while now. In 2019, she announced a hiatus that many fans presumed was a retirement. She insisted at the time that she wasn’t quitting, but in recent interviews she confirmed that actually she did plan at the time to quit her music career. But she ended up not quitting. Only she has hinted that she might quit at some point in the not-so-distant future.

What should be made of all this? Having interviewed Mitski myself, I know that her interactions with the press can be cordial but distant. On stage, she is one of the most magnetic and theatrical performers in indie rock, radiating star appeal even when she was playing dingy rock clubs. In interviews, however, she’s enigmatic, prone to giving statements that seem revealing in the moment and then vague once you see them in print. And that seems entirely deliberate, and also understandable given the close readings her songs and press clippings have invited in the past. But the success and indie fame she received in the wake of 2018’s Be The Cowboy has exacerbated this reticence. In at least two of her recent magazine profiles, she declined to give the names of her cats, for fear that this information could be used to track down her personal information. (Is there a Google Cat app that I am not aware of?)

All of this has made headlines like “Mitski Had To Quit Music To Love It” not entirely convincing. She hasn’t quit music, but she also hasn’t demonstrated that she loves it. In the Rolling Stone interview, Mitski admitted that she wrote “Working For The Knife” — the first single from her new album, Laurel Hell, due Friday — at the end of 2019, around the time she was reminded of a contractual obligation with her record label to put out another album. “I just didn’t know whether I would ask the label to take it and keep me out of it,” she said, “or I would actually go out and present it.” The song itself doesn’t resolve this ambivalence. Over a mid-tempo shuffle accented with goth-y synths, Mitski croons about a spiritual malaise that one could easily apply to her own career narrative: “I used to think I’d be done by 20 / Now at 29, the road ahead appears the same.”

Apparently, Mitski has opted to go the “actually go out and present it” route. The release of Laurel Hill will be accompanied by a three-month international tour of large theaters that launches in about two weeks, and is already almost entirely sold out. After that she will join Harry Styles for a short run of stadium concerts in Europe. As for the album itself, it’s her most overt pop move yet, with another single, “The Only Heartbreaker,” co-written by Dan Wilson, a collaborator of Adele and Taylor Swift and one of the top hired guns in the business.

And yet, the question persists: Does Mitski really want to be here? Unlike the bravado she displayed on the preternaturally confident Be The Cowboy, she seems markedly less assured on the follow-up. It feels muddled, as if the author couldn’t decide on an overall vision. Mitski has said that Laurel Hell went through many iterations — including country and punk versions — before she decided that “I need to dance,” according to Rolling Stone. But the throwback 1980s sheen applied to the songs is ultimately noncommittal. The central conflict here seems to be this: Is this a full-blown bid for pop superstardom? Or is it a subversive spin on the idea of a pop record akin to Mitski’s other work? I can’t tell as a listener, and I’m not sure Mitski knows, either. She’s trying to have it both ways — simultaneously stepping up and retreating — and succeeding at neither.

On Be The Cowboy, Mitski mined the space between pop and indie music, landing in her own uniquely perverse space. Like on the album-closing ballad “Two Slow Dancers,” a climactic torch song in which she likens the familiarity of a long-term relationship to the smell of a school gymnasium. But there is no such alchemy on Laurel Hell, which oscillates between pop and perversity without ever integrating those poles.

On the perverse side are several slow, noirish ballads that telegraph an indefatigable weariness with slasher-movie synths and dreary piano chords. “Sometimes I think I am free / Until I find I’m back in line again,” she sings in “Everyone,” capturing the captive resignation that permeates much of the album. And then there’s “Stay Soft,” in which media commodification is reimagined as an S&M dynamic between audience and star and set to a queasy bump-n’-grind rhythm. Not all of these songs work — “Stay Soft” is kind of clumsy — but at least they hint at Mitski’s ability to write songs that can beguile and befuddle in equal doses, pinpointing the shared attributes of fear and desire. It’s on the more upbeat songs that the weaknesses of Laurel Hell are most acute.

Simply put, the would-be bangers here don’t bang nearly hard enough. Along with the vintage 120 Minutes-style alt-pop of “The Only Heartbreaker,” the ’80s signifiers come hot and heavy on songs like “Love Me More” and “Should’ve Been Me,” which quotes musically from Hall & Oates’ “Maneater.” But this is nothing we haven’t all heard many, many times from indie and pop artists for about a decade now; by now, the 1980s have been strip-mined for every last gated drum track and retro keyboard squiggle. It’s still possible to do this sort of thing well, however, and Laurel Hell suffers from arriving so close after The Weeknd’s Dawn FM, one of the most brilliant evocations of ’80s pop nostalgia of recent years. On Dawn FM, every song is loaded with hooks and ace production choices, a testament to the battery of songwriting and production talent at Abel Tesfaye’s disposal. Laurel Hell sounds feeble by comparison.

Ever since her second album, 2013’s self-released Retired From Sad, New Career In Business, Mitski has collaborated with the producer and musician Patrick Hyland. While the partnership has been fruitful, the music on Laurel Hell suggests that it might have run its course. Mitski is now at a career crossroads. When The Weeknd exited the world of indie prestige for genuine superstardom seven years ago on 2015’s Beauty Behind The Madness, he enlisted no less an authority than Max Martin to help with the transition. He fully accepted that his job was now to make larger-than-life pop smashes, and he dedicated himself to the role. Laurel Hell meanwhile is a tentative, frustrating record of half-measures trapped between musical worlds to which Mitski refuses to commit.

I ask again: Does Mitski really want to be here? Does she want to stay or does she want to go? If she stays, does she want to be a mainstream star who performs in stadiums with other mainstream stars, or does she want to be an enigmatic cult indie hero? Laurel Hell suffers from not resolving these issues before now. She has the talent to go either direction, but as it stands her music either needs to be a whole lot catchier or much weirder. The time has come for Mitski to finally choose.

Given that Jackass co-creator Johnny Knoxville has dedicated the past 20-plus years of his life to voluntarily being smashed in the nuts, tasered, getting the sh*t beaten out of him by Butterbean (a professional fighter who tips the scales at close to 400 pounds), and going head-to-horns with a couple of very pissed off bulls, it stands to reason that he has broken just about every bone in his body (his penis included). In fact, as Mediaite reports, Knoxville estimates that he came very close to not making it out of a stunt alive at least five or six times.

While Knoxville has managed to escape death a good half-dozen times now, that doesn’t mean his pain level isn’t a daily reminder of his many years of jackassery. Just ahead of the premiere of Jackass Forever, the fourth—and, as of right now at least, final—installment in the Jackass movie franchise, Knoxville was a guest on Jason Bateman, Will Arnett, and Sean Hayes’ “Smartless” podcast, where he shared that “I have to live with all my past injuries. I’ve had like 16 concussions—I’m not very in touch with my body… And I figured I did this to myself, right?”

In addition to several very serious head injuries, Knoxville shared that he’s sustained a lot of damage to his back as well. “I have two blown disks in my lower back, so that’s something I have to deal with just with exercise and anti-inflammatories,” he said.

Still, Knoxville is able to look on the bright side. “I’m so lucky I’ve had some stunts that almost had forever consequences five or six times,” he said. “I’m almost dead five or six times.”

Jackass Forever arrives in theaters on Friday, February 4th.

(Via Mediaite)

Madison Cawthorn isn’t a subtle guy. The far-right whippersnapper recently opted to clean his gun while sitting through a hearing on toxic burn pits (and their devastating effects on veterans). He’s also (all photographic evidence to the contrary) declared that MAGA rioters were simply “normal people” who were only “kind of wandering in,” so it wasn’t too much of a surprise to see Cawthorn as one of the Republican congresspeople who are reportedly linked (by Rolling Stone) to the Jan. 6 insurrection. Nor is it off base for him to give a bonkers interview to the Daily Caller’s Brianna Lyman.

One of the gems in this interview: Cawthorn raves about how Donald Trump is a “genius” and a dad figure who somehow hops on the phone with him every day:

“Trump is like a father to me, I get to talk to him every single day. He’s incredible, he’s a genius. Being 26 years old obviously I don’t have a ridiculous amount of experience with dealing with foreign policy, so if I can just call the former president of the United States and say, ‘hey, what would you do in this situation?’ and he can tell me exactly what the whole background is to it. So I love him. He’s been very good to me and he’s been so good to our country.”

Uh, does Don Jr. know about this? Regardless, Cawthorn’s cult-y, possibly grifty way of speaking perked up some Twitter users.

That wasn’t all. Cawthorn also declared, “I think there are members of the federal government deeply involved in Jan 6.” Eyebrows are raising over how on-the-nose this statement might be.

And finally, Cawthorn made a clearly false statement about how the 2020 Black Lives Matter protests resulted in “all of our major cities burned to the ground.”

It’s a wild set of statements to make, especially when a group of lawyers is working to prevent Madison from running for reelection this year. He’s also got a contender, Josh Remillard, waiting in the wings. Patton Oswalt tweeted support for Remillard and raised some awareness for donations to the North Carolina hopeful’s campaign.

Like most late night comedians, The Daily Show host Trevor Noah made a beeline for Joe Rogan’s apology video, but Noah made a surprising pivot by agreeing with the ladies of The View that Rogan’s mea culpa was “refreshing.” In a lengthy unscripted segment, Noah went to bat for Rogan’s apology, but he also repeatedly made it clear that he’s in no way defending Rogan or the misinformation he spreads on his podcast. Noah quipped that, inevitably, the internet will twist his words anyway.

“I actually thought it was pretty classy,” Noah said before joking that he just assumed Rogan would say his podcast was hacked. “But instead, he owned up to it. I thought it was pretty dope. It was refreshing.”

Despite Noah’s praise for Rogan’s apology, and his unusual sympathy for the podcaster, The Daily Show host wanted it known that is not a defense of Rogan’s actions. It’s simply an understanding that the internet pulls things out of context. Via The Daily Beast:

“I’m not trying to defend Joe Rogan,” he said. “And somebody’s maybe going to do it to me, they’re going to take a part out and go ‘Trevor defends Joe Rogan.’” But that being said, he wanted to back up Rogan’s claim that he often hosts people who disagree with him, including a viral clip of his anti-vaccine conspiracy theory getting corrected in real time during his own show.

“But because of the internet age that we live in, we shit on people based on the little that we see of them, we don’t give them the full context,” Noah continued. “So in his defense, I get that part of what he’s saying.”

Several times during the segment, Noah joked, “I can’t believe I’m saying that right now,” after going to bat for Rogan, and it’s easy to see why. Just last week, Noah was dragging Rogan for saying only people from Africa are 100% Black. So it’s easy to understand Noah’s predicament of suddenly finding himself agreeing with Joe Rogan.

(Via The Daily Beast)

Late last week, word broke that Tom Brady was reportedly retiring after 22 seasons in the NFL. His accolades speak for themselves, as a 7-time Super Bowl champion, 5-time Super Bowl MVP, and 3-time NFL MVP, who has the most career passing yards and passing touchdowns of any quarterback in league history.

However, for much of the weekend, there was pushback on the report that he was retiring, as it was clear that Brady wanted to be the one to make the announcement and tie a bow on his career. That happened, officially, on Tuesday norming, as he released a lengthy statement on Twitter that offered thanks to an awful lot of people in his circle and in Tampa where he spent the final two seasons of his career, but rather curiously made no mention of the Patriots where he spent the first 20.

Brady was not happy with how things ended in New England, but it is fairly incredible that in an eight-tweet announcement there isn’t a solitary mention of the Pats, the fans of Boston or the New England area, or anything like it. Then again, finding fuel in any perceived slight and holding onto it as long as possible is part of what made Brady who he was as a competitor and, even as he goes into retirement, that part of him hasn’t been turned off completely.

There’s no TV experience like seeing your old(ish) favorites gearing up for return seasons, and that’s happening a lot in February, which makes for a fantastic upcoming month on TV. Not only will the South Park guys make their razor-sharp comeback, but Snowfall returns to crank up the mean-streets-fueled tension, and Killing Eve brings us back to assassin-land for one final season of reverse cat-and-mousing.

Another twist for you: three tried-and-true franchises are returning with new iterations. The O.G. Law and Order show makes its way back to the airwaves with old and new blood, and Will Smith’s bringing back his Fresh Prince story in the more dramatic Bel-Air. In addition, the ever-popular Vikings is spinning off with a prequel series, all while Pam & Tommy will rock your world. That’s still only about half of the shows on this list (Julia Garner brings a real-life scandal to life in Inventing Anna, Will Arnett’s comedically taking on procedural shows in Murderville, and much more), so there’s no shortage of fresh content coming your way even though (numerically speaking) February’s a shorter month on the calendar. TV can be our valentine.

Here are the biggest shows worth noticing in February:

Pam & Tommy (Hulu limited series streaming 2/2)

The wild real-life story gets an adaptation that’s gloriously trashy and will hit you in the feels with all the guilty-pleasure notes that could make you binge it all in a few sittings. It’s a throwback to the time when the Internet barely existed, but it could be used to propagate a stolen celebrity sex tape that set tons of wheels in motion and threw a wrench into a love story, and it’s sort-of a heist story, which could have been all fun and games if it hadn’t hurt someone in such a devastating way. There are heavy issues along the way, but mostly, this selection is a blast. Sebastian Stan and Lily James are spooky good in their doomed romance with Jason Mantzoukas voicing a penis and Nick Offerman and Seth Rogen as the mulletted bad guys.

South Park: Season 25 (Comedy Central series returning 2/2)

Back in the early 1990s, it’d be hard to envision a world where the South Park dudes would be cranking out the social satire like no one’s business. Not only are they taking over Casa Bonita and inspiring an orchestra, but there’s a whole heaping helping of Paramount+ specials coming our way in addition to a full-on season of f-bombs and rightful torching of Cartman. Trey Parker and Matt Stone are still crushing the adult animation game like no other, and it’s good to have them back.

Murderville (Netflix limited series streaming 2/3)

Procedural shows have already reached parody height in some instances and been lampooned to death (in a largely enjoyable way), so how about another spin on the procedural crime-comedy drama? This show stars Will Arnett as a senior detective who’s accompanied by celebrity guest stars while investigating murders-of-the-day. However, the twist with this show is that the guest star never receives a script, so they have to think quickly and improvise the heck out of this thing while attempting to figure out the killers. In other words, Annie Murphy, Conan O’Brien, Ken Jeong, Kumail Nanjiani, Marshawn Lynch, and Sharon Stone are your guinea pigs.

Raised By Wolves: Season 2 (HBO Max series streaming 2/3)

If you’re a fan of the brand of android-generated confusion inspired by Westworld, then you’ll want to give this Ridley Scott show a chance. Mother’s still doing everything she can to reboot humanity on an unfriendly planet, but as it turns out, her bloodletting strategy isn’t so friendly either. Don’t expect this show to make total sense, but sci-fi fans will love the questions that the show poses with sweeping, sometimes trippy visuals to go along with the intellectual ride.

Inventing Anna (Netflix limited series streaming 2/11)

As if Julia Garner didn’t already rule the small screen in Ozark, we’re getting another heaping helping of her. This time, though, the tight corkscrew curls are largely hidden while Garner portrays Anna Delvey, a real-life Instagram “legend” and fake German heiress. In reality, Delvey was a master con artist who captivated New York’s social elite and ended up dragging the hell out of the American dream in the process. This limited series follows the investigation into Anna’s misdeeds, along with how she stares down trial and keeps those lies alive, all as inspired by Jessica Presler’s New York Magazine article that will get you primed.

Reacher: Season 1 (Amazon Prime series 2/4)

Size matters (unlike with the Tom Cruise film) with this adaptation (starring the 6’2″ Alan Ritchson) of Lee Child’s bestselling novels of the veteran who transitions to civilian life as a drifter. He finds himself wandering the country and ends up in Georgia, where he’s pinned for a homicide that he didn’t commit. Cue a massive conspiracy and plenty of violence and hopefully a healthy dose of leading-man charisma. The real question here is whether Reacher genuinely eschews the cell phone, but you gotta tune in to find out.

Bel-Air: Season 1 (Peacock series streaming 2/13)

The Will Smith-produced Fresh Prince of Bel-Air reboot previewed a different tone than the comedic original with things promising to get a little bit gritty (because no one can resist that these days) and legitimately dark. In this version of the story, we get to see what happened in Philly that sent Will to brighter California stomping grounds with Uncle Phil bringing his nephew to California “for a better education” and (probably) some fresher threads. That’s the official story, and that appears to be where the darkness begins to ebb, and oh boy, there’s another new Aunt Viv.

Severance: Season 1 (Apple TV+ series streaming 2/18)

Ben Stiller executive produces this dramatic show starring Adam Scott, a leader at a company that’s put its employees through a surgical procedure that essentially divides their work and personal headspaces. It’s a weird take on the work-life balance question, and along the way, Scott’s character must solve a mystery that really makes him question what the hell his company’s been doing. Sounds very Eternal Sunshine of the Spotless Mind meets Maniac, and obviously, this show is meant to make us think.

Space Force: Season 2 (Netflix series streaming 2/18)

Yep, this is happening again. Enough people must have enjoyed a frustrated, bad-boss Steve Carell playing astronaut while John Malkovich somehow finds himself on this series as well, and Lisa Kudrow gets shipped outta there for baffling reasons, but hey, the first season of The Office wasn’t nearly as good as the rest, so maybe there’s some hope for redemption here. Positivity, y’all.

Snowfall: Season 5 (FX series returning 2/23)

The late John Singleton’s brainchild sees Franklin’s family in a ridiculously rich state and about to achieve all of their dreams. However, the cocaine-associated death of basketball star Len Bias raises plenty of heat from politicians, law enforcement, and the LAPD is essentially militarized. All of this somehow makes South Central LA even more dangerous than it already was, due to the C.R.A.S.H. (Community Resources Against Street Hoodlums) units, while the family sees the walls closing in around them.

Law & Order: Season 21 (NBC series reviving 2/24)

Following the semi-triumphant return of Elliot Stabler to the Law & Order universe, Dick Wolf and the other Powers That Be decided there was no time like the present for a revival of the franchise’s flagship series. Expect to see the return of Sam Waterston and Anthony Anderson (but surely no Chris Noth) and the addition of Hugh Dancy as the O.G. show continues to live in syndication while SVU continues to go strong. The real question here is this: will we see Ice-T make a cameo? C’mon, every show in this universe could use some Fin Tutuola.

Vikings: Valhalla (Netflix series streaming 2/25)

Six seasons of the saga weren’t enough for fans of the action-packed, shout-filled O.G. series. This sequel spinoff series follows different stories set 100 years ahead with a different generation of heroes chasing destiny. In the midst of it all, the show will introduce history-famous Vikings, including Leif Eriksson (Sam Corlett), Freydis Eriksdotter (Frida Gustavsson), and Nordic prince Harald Sigurdsson (Leo Suter). As expected, clashes will be bloody between the English royals and the Vikings while everyone argues into oblivion about Christian and pagan beliefs and fights for the most glory and (of course) for survival.

Killing Eve: Season 4 (BBC America series returning 2/27)

Last season ended with winners and losers aplenty. And c’mon, you didn’t think that Villanelle and Eve would be able to get along in the long term, right? Imagine what domestic life would be like for these two. A former MI6 officer and an assassin who can’t give up the life (or the luxury trappings) are as ill-equipped for reality as Westley and Buttercup in The Princess Bride. Yet there’s no reason why they’ll be able to resist each other forever, but Eve is hellbent upon revenge this season while Villanelle desperately wants to prove that she’s not a “monster.” Good luck to both of them? Meanwhile, Carolyn’s doing the real work by attempting to avenge poor Kenny’s death.