Month: August 2023

Zach Bryan opens his new album with a poem. “I’ve learned that every waking moment is enough,” he says, “and excess never leads to better things. It only piles and piles upon things that are already abundantly in front of you.” His delivery on the track, titled “Fear And Friday’s (Poem),” is down-home and conversational. As he strums his guitar, it sounds as though he is sitting in a bedroom somewhere and speaking into a tape recorder. It’s an arena-filling superstar caught in an intimate moment, only it’s presented via the least intimate vehicle — a probable smash hit LP — imaginable.

By placing “Fear And Friday’s (Poem)” at the start of Zach Bryan, the self-titled followup to his blockbuster 2022 major-label debut American Heartbreak, Bryan might appear to be making a statement about his own success. And, in fact, he almost certainly is, given that the idea is underlined by the next track, “Overtime,” a surging heartland rocker powered by a soaring trumpet and a galloping drum pattern in which Bryan reflects on his pre-fame heritage and promises to not let celebrity spoil him:

And I wanna stay humble, I wanna stay hungry
I wanna hear my father say that he loves me
I never gave a shit about being arrogant anyway

But that is only part of the story. What the one-two punch of “Fear And Friday’s (Poem)” and “Overtime” also demonstrates is what makes Zach Bryan unique. When judged at a superficial remove, Bryan fits the mold of a broadly appealing Americana singer. A solidly built Oklahoma native who served in the Navy for eight years — he was discharged only in 2021, after building his name from songs he wrote, recorded, and posted online while in the service — he cuts a good-looking, jockish figure. (He could be Pat McAfee’s younger brother.) Politically, he more or less rests at the center, which means he’s just liberal enough to tussle with Travis Tritt about the Bud Light boycott and just conservative enough to complain about social media on Joe Rogan’s podcast. And then there is his generic-sounding name, which could be the mean of every middle-of-the-road lunk who had a hit song about a pickup truck in the past 20 years.

Only when you dig deeper do you notice what makes Bryan truly special. For singer-songwriters of his ilk, there are normally three lanes to popularity. The first is the “throwback outlaw” lane. (Sturgill Simpson and to a lesser degree Tyler Childers.) The second is the “thinking man’s Southern rock” lane. (Chris Stapleton and Jason Isbell.) The third is is the “pop-country with elements of hip-hop” lane. (Morgan Wallen.) Bryan did not take any of these lanes. Like a lot of 27-year-olds, he came to folk and country through contemporary music that referenced those sounds as he came of age in the aughts and early 2010s: indie rock.

To the New York Times — in one of the only interviews he’s granted in the past few years — he confessed growing up on “weird indie music,” namely Radiohead and Bon Iver. On social media, he recently professed an ambition to one day make a “midwest punk album,” which he called “the best music in my opinion.” (That the artists he cited — The Front Bottoms, Joyce Manor, Hovvdy, and We Were Promised Jetpacks — aren’t actually “midwest punk” music must be noted, though not to dilute the overriding spirit.)

Two indie acts that I haven’t seen Bryan speak about, Bright Eyes and Dashboard Confessional, nevertheless also seem pertinent. On Zach Bryan, you can hear the former in the chaotic uplift of “Overtime” — as well as in Bryan’s phrasing, which carefully articulates each well-chosen word — and the similarly rousing “East Side Of Sorrow,” which revives the horns and stampeding rhythm to create a sweeping, mock-orchestral bombast. It’s not an exact homage; Bryan is too much of a craftsman to allow his songs to teeter on the brink of full-blown collapse the way Conor Oberst frequently does. But the signifiers of “homemade” and “personal” music that you get from Bright Eyes — the room noise, the unadorned vocals, the urgent instrumentation — are also plain on Zach Bryan, even when they are merged with a far more commercial songwriting sensibility. (I am obviously not the only person to notice this.)

As for the latter aughts-era emo touchstone, Dashboard Confessional didn’t enter my mind in relation to Zach Bryan until All My Homies Hate Ticketmaster, an enjoyably raucous live album released at the end of 2022. I was already a fan of American Heartbreak — I put it on my year-end list — but until All My Homies I did not fully appreciate the degree to which Bryan resonates with his audience. Performing for a sold-out crowd at the venerable Red Rocks Amphitheater in Colorado, Bryan frequently fights to be heard over his fans, who shout every word to every number in the 24-song setlist. It’s a phenomenon that instantly reminded of the infamous Dashboard Confessional episode of MTV Unplugged, in which Chris Carrabba is just about drowned out by a studio audience filled with devoted teenaged fans.

On All My Homies, Zach Bryan does not come across like a regular superstar country singer. He’s more like an emo cult figure with the scale and audience of a regular superstar country singer. Talk about a potent combination. The underlying difference concerns how Bryan approaches the eternally thorny issue of authenticity. In country, there are always artists who claim to bring the music back to its working-class roots; this summer a certain ginger-haired lightning rod became an instant (though perhaps short-lived) star by doing just that.

This is not Bryan’s approach. His currency is emotional authenticity, in which he delivers gut-level catharsis in a mainstream pop context that otherwise is placid and plastic. Just as hearing Bright Eyes or Dashboard Confessional in the early aughts when the alternatives were Limp Bizkit and Ashlee Simpson jumpstarted many teenaged hearts, encountering a song as stripped-down and nakedly melancholic as “Something In The Orange” (a monster hit that has been streamed nearly 500 million times on Spotify) in relation to the rest of the pop world circa the early 2020s clearly has bonded millions of people to Bryan as something more than just another guitar-slinging troubadour.

If I have a primary complaint about Zach Bryan, it’s that this specialness doesn’t always come through. Whereas American Heartbreak was big enough to allow for scores of curveballs and tossed-off gems, Zach Bryan feels like a relatively safe sequel. The middle part of the record – where Bryan collaborates with down-the-line Americana mainstays like Kacey Musgraves, The Lumineers, and The War And Treaty — is dirge-y and redundantly mid-tempo, like an NPR roots music show on autopilot. Though even here you can hear the indie-rock in Bryan, particularly “Tourniquet” and “Jake’s Piano – Long Island,” which nod aggressively in the direction of The National.

Listening to Zach Bryan, I found myself longing for the intense live energy of All My Homies, in which Bryan is willed toward greatness by the legions of followers who worship him as Oklahoma’s answer to the Hot Topic generation. Then again, Zach Bryan could also be read as a “downbeat follow-up to a huge hit” album, which the man himself would probably prefer. “I wrote and produced an album that I wanted to listen to,” he wrote in a note posted right before the record dropped on Friday. “I self titled because I hear every cell of my being in it.” Bryan typed these words in white font against a black backdrop. Only one word could describe the aesthetic: Emo.

Zach Bryan is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Drake is still hard at work cooking up his forthcoming solo album, For All The Dogs. With his It’s All A Blur Tour slowly coming to an end, he will have more time to dedicate to it. But with only a few dates remaining, Drake wants to shake things on the road up a bit. According to rumors that resurfaced online yesterday (August 28) after his previously scheduled concert in Vancouver, Canada, was postponed, fans believe Travis Scott will be stepping in for a few selected shows.

The whispers on social media allege that Scott will replace 21 Savage for both remaining Canada shows both today (August 29) and tomorrow’s (August 30) rescheduled day. In photos shared to X (formerly Twitter), the new tour graphics featured a collage of images featuring the “KPop” rapper.

This wouldn’t mark the first time in the tour’s stops in Canada that 21 Savage was replaced. Back on July 14 and 15, J. Cole made a surprise appearance at the Canada Bell Centre in Montreal to step in for Savage during his notable absence.

View the remaining tour dates below.

8/29 – Vancouver, BC @ Rogers Arena
8/30 – Vancouver, BC @ Rogers Arena
9/01 – Las Vegas, NV @– T-Mobile Arena
9/02 – Las Vegas, NV @ T-Mobile Arena
9/05 – Glendale, AZ @ Desert Diamond Arena

Russ has long been an outspoken advocate for going the independent route in the music business, frequently touting its many advantages over signing to a major label. However, that approach also comes with some drawbacks, forcing Russ to stand up for himself recently with regard to the first-week sales accounting for his recently released album, Santiago.

On Monday, Russ accused Billboard and music data provider Luminate of unfairly discounting several thousand sales for his album, keeping him from a top-ten spot on the Billboard 200 chart. “Billboard & Luminate took away ANOTHER 4,000 of my REAL sales over the weekend making that 10,000 sales total they took away from me while allowing major labels to fake their streams and sales and do monopolistic merch bundles,” he argued, elaborating that “only major labels are allowed to do merch bundles because the only approved vendor is a major label vendor.”

However, he ended his missive on a positive note, reminding followers, “These numbers and charts are made up. The impact however is not. Shoutout to the fans.”

Russ was projected to sell around 52,000 units by Hits Daily Double last week, a particularly robust figure for an independent artist without major label support. This would have seen him slot neatly into the top 10, just behind Taylor Swift and Hozier, and it’s clear Russ considered this a feather in his cap.

Of course, projections are just projections. HitsDD can only work with available data and trends and take an educated guess at where things will end up, so there’s no guarantee that Russ was going to sell 50k, only that it looked like he might. Other albums, like Swift’s Speak Now (Taylor’s Version) or Lover, could have seen big spikes, or Santiago could have lost momentum mid-week. However, he does have a point about counting sales from only specific retail avenues.

Unfortunately, Billboard is between a rock and a hard place there; the publications previously incensed other major artists due to allowing merch bundles at one point — the rule has since been changed, which angered different artists. The truth is, no accounting system would be perfect, because someone would always feel they got “cheated” if they disappointed their own expectations. Meanwhile, Coi Leray seems to have had the best approach recently, dismissing the assumed importance of first-week sales in lieu of enjoying her continued impact and the fact that even without splashy figures, she’s living her dream and touching fans with her art.

After winning their fourth NBA title of the last decade in 2022, the Golden State Warriors had an up-and-down campaign in 22-23, earning the West’s 6-seed before ultimately losing in the conference semifinals to the Lakers.

The Warriors had hoped they could elevate some of their young players into larger roles, but Jordan Poole wasn’t as effective and was, understandably, a bit disconnected from the team after getting punched in the face by Draymond Green in camp. Beyond Poole’s regression, the Warriors were unable to fill the void left by Gary Payton II and Otto Porter Jr. — to the point that they traded James Wiseman to bring back Payton II at the deadline — and there was apparent frustration from Jonathan Kuminga about his diminishing role as the playoffs arrived.

This summer, the Warriors had to make a decision on their immediate path, as the much-discussed “two timelines” approach was seemingly splintering. Adding to the difficulty of this offseason was the departure of longtime GM Bob Myers, with Mike Dunleavy Jr. being promoted into the lead role of the front office. Any question of what direction they would take was answered before the Draft began, when Jordan Poole was shipped to Washington for Chris Paul, cementing the long-time core as the continued focal point in the Bay.

Here we’ll grade out the Warriors summer in the Draft, free agency and contract extensions, and on the trade market.

Draft: B

The Warriors held the 19th overall pick in this year’s draft and took Brandin Podziemski out of Santa Clara. The sophomore guard was a prolific scorer with the Broncos, averaging 19.9 points per game (and 8.8 rebounds) and hitting 43.8 percent of his threes to become the West Coast Conference Player of the Year. There are questions about his athleticism and what his ceiling is as a player, but if the shooting and scoring touch carries over there figures to be a role for him in an NBA rotation. As our Brad Rowland explained on Draft night, at 19 he felt like a bit of a reach but the fit for him in Golden State is better than most anywhere else, handing out a B- for the selection.

This is a better grade than any other team would’ve received in taking Podziemski, but it’s a good fit. His feel is very good and Podziemski is a dynamic shooter. As a very limited athlete, there are defensive concerns and the chance that he just can’t hold up, but Golden State was the appropriate team to take that risk.

The Warriors also added Trayce Jackson-Davis out of Indiana as an undrafted free agent, which was another addition of a highly productive college player. Jackson Davis averaged 20.9 points, 10.8 rebounds, 4.0 assists, and 2.9 blocks per game last season at Indiana. His question is how effective he’ll be offensively in the NBA as he’s limited as a shooter, but he is a strong rim protector even at 6’9 and can provide a unique lob threat on a team lacking many of those options.

Free Agency/Contract Extensions: B+

The first order of business for the Warriors was re-signing Draymond Green, inking their defensive anchor to a 4-year, $100 million deal to stay with the only NBA team he’s ever played for. While it’s fair to wonder if Green will show slippage by the end of that deal, it’s also worthwhile to keep him around because, as Steve Kerr noted this summer, the Warriors simply aren’t a contender without him. The Warriors believe Stephen Curry, Draymond Green, Klay Thompson, Andrew Wiggins, and Kevon Looney are a good enough core group to be a contender, and it’s a matter of building out the right playoff depth around them to provide the support needed to make a run. While they’ll hope for continued strides from Kuminga and Moses Moody — the latter of whom played well in this past postseason — the Warriors clearly recognized they needed a different group of veteran bench options.

In free agency, they started with Cory Joseph, adding another veteran guard to bolster their backcourt with another capable shooter (Joseph shot 40.1 percent on threes the last two seasons in Detroit). He’ll be a bit of a drop off, especially defensively, from Donte DiVincenzo who signed with the Knicks, but still gives them a useful guard off of the bench. The biggest new addition is Dario Saric, who seems like a terrific fit for the Warriors given his skillset as a connective passer and floor spacer from the power forward (or small ball center) position. In his first season back from an ACL injury, Saric shot 39.1 percent from three in Phoenix and Oklahoma City a year ago and will give Kerr some welcome frontcourt depth. The Warriors struggled mightily a year ago with their non-Looney and non-Green minutes, as JaMychal Green didn’t pan out as hoped. Saric should be an upgrade there, and ought to make the Warriors a bit less dependent (at least offensively) on their top two bigs, although he certainly can’t replace their impact defensively.

Trades: B

The biggest move of the summer from the Warriors was one that caught most people by surprise, as they flipped Jordan Poole to Washington (along with a future protected first round pick, a future second, and Ryan Rollins) to bring back longtime rival Chris Paul. That trade made it clear the Warriors were going all-in on their veteran core, but it isn’t without some risk. Poole had his faults, but he was also their most reliable guard in terms of being in the lineup, playing all 82 games a year ago. He could not find the same level of shooting efficiency as in 21-22, which led to plenty of frustration from fans as he would go through cold spells from three, but the Warriors also lack much in the way of individual shot creation beyond Steph and losing Poole will only exacerbate that. Poole was supposed to be the heir apparent in Golden State but a year into his new deal he was salary dumped, and the organization undoubtedly holds some responsibility for the failure to make it work with him.

That said, they also kind of made their choice with their handling of the Draymond punch situation and if that was never going to get fully reconciled, moving Poole and getting Chris Paul in return was a solid short-term play. Paul is still effective as a point guard, averaging 13.9 points and 8.9 assists per game, but has lost a step and struggled more last season with his finishing and midrange game than we’ve seen since his final year in Houston. He did bounce back to shoot 37.5 percent from three, but is at times a more selective three-point shooter than you might like someone with his shooting ability to be. Paul has never played fewer than 31.4 minutes per game in his career, and as he’s gotten older it has been clear that he goes through spells on the court where he is simply trying to reserve energy. Playing a slightly smaller role with the Warriors could help Paul be more effective more of the time he’s on the court, rather than trying to conserve energy so he can take over in the fourth quarter as needed.

The biggest boost for the Warriors is that they haven’t ever had a second point guard with the passing acumen of Paul. The Warriors are incredibly reliant on Curry and Green to be their offensive hubs, and when teams stymie those actions the offense can get stuck in the mud. Having a third creator for others should make the Warriors even more dynamic as an offense. Paul is very adept at playing off of elite scorers, having plenty of experience alongside James Harden and Devin Booker. Given Curry is a much more advanced (and willing) off-ball player than those two, it stands to reason that he and Paul can pair very well together. Last year, the Warriors became heavily reliant on Curry being on the ball and running pick-and-roll action in the playoffs, which is not Steve Kerr’s preferred offense. With Paul, they should be less predictable and ought to be more difficult to slow down, even understanding Paul might not be the dynamic scoring option he once was.

The Paul trade made clear the Warriors were all-in on trying to keeping the current title window open around Curry for as long as they can. Poole’s dreadful postseason has probably made him undervalued in terms of what the Warriors are losing next season, but the Warriors will hope to lean on their old “strength in numbers” adage to fill that void with multiple contributors rather than a one-for-one replacement with Paul. This was a perfectly solid summer for Golden State and I see the vision of what they’re trying to do with this roster, but the most important thing to their ability to be a contender next year will be health and availability. Paul has dealt with nagging injuries in recent years, and his health will be something the Warriors will want to monitor all year. Curry only appeared in 56 games last regular season, while Wiggins played in just 37, dealing with a personal matter. A full season of Gary Payton II (who played just seven regular season games after the deadline) also should be a boost to their depth. Leaning into building a more veteran roster makes sense for what this team wants to do, but also brings more questions about their ability to stay healthy. If they can navigate that and enter the postseason with a full squad, they should be back in position to make another run at a fifth ring for Curry, Thompson, and Green.

Doja Cat is gearing up for the release of her next song, “Demons,” but she also isn’t holding back from those who can’t handle the scariness of the video or the vibes, it appears.

“Y’all so b*tchmade you probably couldn’t make it through an episode of ‘Goosebumps’, f*ckin p*ssies,” she shared in her Instagram story.

Over the past few weeks, she’s been leaning into the aesthetic on social media, with gory, red-themed photos. Her tour date poster also features a selfie where she appears to be covered in fake blood.

Many of the commenters weren’t pleased and were creeped out. “Not going to devil worship show,” one person wrote.

Others understood the horror references and came to Doja’s defense. “This is so clearly a Carrie reference y’all are sad,” another added.

“Demons” is expected to drop this Friday, with a rumored music video starring scream queen (and Wednesday Addams herself), Christina Ricci.

Doja, however, has recently faced pushback from fans who were turned off by her persona shift, as it now takes on a sarcastic tone regarding her fanbase. “nobody forced you idk why you’re talking to me like you’re my mother b*tch you sound like a crazy person,” she told one fan who pointed out that they’re the ones that support her career.

With the Labor Day holiday just around the corner, most people are wrapping up their summer plans with small get-togethers. However, Kanye West is not like most people. So, of course, his warm-weather activities were far more grand. Yesterday (August 28), the “Praise God” rapper was spotted out enjoying vacation with his supposed wife, former Yeezy designer Bianca Censori, in Venice, Italy.

As the couple relaxed on a river taxi, paparazzi were there to capture every intimate moment. In censored NSFW photos shared by TMZ, West was sure to let every crevice of his body — or rather, pretty much just his butt — get some sun. Although West sported one of his signature face covers, that level of modesty didn’t extend to his lower half.

When the paparazzi photographed the entertainer from different angles, they quickly noticed that his entire derriere was out to greet their cameras. It doesn’t seem like one of West’s intentional publicity stunts. Rather, some photos make it look like there was a potential sexual act going on. Either way, given that the waterway was filled with other pedestrians, it was certainly a risky move.

West certainly isn’t opposed to nudity; just look at his last birthday celebration.

50 Cent is currently on his Final Lap Tour celebrating the 20th anniversary of his breakout, J. Cole-favorite debut, Get Rich Or Die Tryin’. But while the tour’s setlist includes fan-favorite tracks like “Disco Inferno,” the temperatures in one destination got so high that the bulletproof rapper-turned-mogul had to bail.

On Monday, he tweeted, “Due to extreme heat, the show tomorrow in Phoenix, AZ is being postponed. For anyone who would like a refund, please go to point of purchase for instructions. I’ll be back in Arizona soon! 116 degrees is dangerous for everyone.” Of course, he couldn’t just express concern for fans’ wellbeing without also throwing in some of his trademark humor, so he included a few photos of his concert’s pyrotechnics along with the screenshot of the excessive heat warning from his weather app.

According to Billboard, excessive heat has affected numerous shows in the past few months; 16 people were hospitalized at a Snoop Dogg show in Houston last week, while July shows with Ed Sheeran and Jason Aldean saw similar results. 17 people were hospitalized at Sheeran’s show in Pittsburgh, while Aldean’s Hartford tour opener ended early when the singer turned out to be dehydrated with heat exhaustion.

The summer heat — which many believe is driven by human-caused climate change — is no joke. Make sure you stay inside if possible and drink LOTS of water. However much you think you need — double it. Stay safe out there.

Swarmy pharma bro Vivek Ramaswamy, a self-proclaimed “scientist” who has “developed a number of medicines,” came out of the first GOP debate with some serious momentum thanks to the absence of Donald Trump. However, that surge has also put a target on his back that Fox News seems eager to fire at.

Shortly after Ramaswamy got slapped with a cease and desist from Eminem, who did not appreciate the pharma bro’s impromptu performance of “Lose Yourself” at the Iowa State Fair, the GOP candidate got grilled by Sean Hannity over his campaign policies regarding Israel. The two went at it almost immediately as Hannity hammered Ramaswamy and his penchant for saying he’s been misquoted.

Via Mediaite:

The interview became confrontational straight out of the gate after Hannity opened, “You said aid to Israel, our number one ally, only democracy in the region, should end in 2028 and that they should be integrated with their neighbors.”

“That’s false,” Ramaswamy protested.

“That was the exact quote. You want me to read it?” Hannity asked.

After Ramaswamy attempted to clarify his remarks, Hannity hit him again by asking if the candidate even understood “the importance of the strategic alliance” and “intelligence sharing in an area of the world where we have a lot of enemies.” Ramaswamy responded, “I understand it I think more deeply than probably anybody in this race.”

The Fox and Friends crew wasn’t convinced. The morning talk show aired clips from Ramaswamy’s interview with Hannity, and once again, hammered the GOP candidate for his questionable views on both Israel and China.

“I don’t get it,” Brian Kilmeade said, prompting Steve Doocy to respond, “He’s wrong about all that foreign policy stuff. It’s that easy.”

As for Ramaswamy’s claim to be a “scientist” who’s “developed a number of medicines,” here’s what the New York Times reported about that.

The reality of Mr. Ramaswamy’s business career is more complex, the story of a financier more than a scientist, and a prospector who went bargain hunting, hyped his vision, drew investment and then cashed out in two huge payouts — totaling more than $200 million — before his 35th birthday.

Mr. Ramaswamy’s enterprise is best known for a spectacular failure. As a 29-year-old with a bold idea and Ivy League connections, he engineered what was at the time the largest initial public offering in the biotechnology industry’s history — only to see the Alzheimer’s drug at its center fail two years later and the company’s value tank.

He’s starting to sound more and more like a less polished bullsh*t artist than Trump with each passing day.

(Via Mediaite)

Taylor Swift wrapped up her Mexico City run of The Eras Tour over the weekend — treating fans to possibly a little bit of shade during her Sunday show. During the Evermore section of the show (where fans usually cheer for long periods of time after “Champagne Problems”), Swift had a joke to make about the running bit at her concerts.

“It’s the best way to be interrupted, by the way, just people chanting your name,” she said. “It’s really the only way to be interrupted, and I would know,” Swift then added, appearing to drop a nod to the infamous 2009 VMAs incident with Kanye West.

Over the weekend, she also treated fans to a long-awaited surprise song with her performance of “Cornelia Street” from her Lover album. “You’ve been beyond patient and supportive, and it’s taken us this long to come here and play for you,” she told them. “So I wanted to play a song tonight that a lot of the fans have been requesting for the whole tour.”

Still, in videos taken from the show, Swift seemed emotional about playing that specific song, but she was able to snap back with some jokes at a following tour date.

Check out the video of her seemingly laughing at the VMAs situation above.

The Killer has a killer poster — and a great trailer.

Netflix has released the teaser trailer for The Killer, David Fincher‘s first movie since 2020’s Best Picture nominee Mank (and his first time working with screenwriter Andrew Kevin Walker since Se7en). The thriller stars Michael Fassbender as an assassin who “battles his employers, and himself, on an international manhunt he insists isn’t personal,” according to the official plot synopsis.

You can watch the teaser above.

Fincher, a.k.a. Da Finchman, described The Killer as a “revenge” movie in a director’s statement for the Venice International Film Festival, where it will premiere. “The Killer is my attempt to reconcile notions I’ve had for years about cinematic stories and their telling. I have always held ‘What were you doing in Chinatown? ‘As little as possible” to be the single greatest evocation of backstory I’ve ever heard,” he said. “I was also playfully curious about the revenge genre as a tension delivery-system. So when Mr. Walker came aboard and fully embraced these notions/questions about broad brushstrokes of understanding giving way to the blind-stitch of ‘moment expansion,’ I felt we needed to try something.”

The Killer, which also stars Tilda Swinton, Charles Parnell, Arliss Howard, Kerry O’Malley, Sophie Charlotte, Sala Baker, Emiliano Pernía, Gabriel Polanco, comes to select theaters on October 27th before making its Netflix debut on November 10th.