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Nicole Kidman shares the unconventional marriage rule she has with husband Keith Urban

Long before Nicole Kidman began her long-term relationship with AMC theaters, she was committed to husband and country singer Keith Urban. The two have happily been together since 2006—which is a good run for any modern day marriage, but most certainly a Hollywood one.

And perhaps their nearly decades-long success can be partially attributed to one surprising communication rule: no texting.

While appearing on the Something To Talk About podcast in 2023, Kidman shared that she was the one who initiated the unconventional agreement.


“We never text each other, can you believe that? We started out that way – I was like, ‘If you want to get a hold of me, call me…”I wasn’t really a texter.,” the “Moulin Rouge” actress shared.

She added that while Urban did attempt texting her a few items early on, he eventually switched when Kidman wasn’t very responsive. And now, 18 years later, they only call each other.

“We just do voice to voice or skin to skin, as we always say. We talk all the time and we FaceTime but we just don’t text because I feel like texting can be misrepresentative at times…I don’t want that between my lover and I,” she told Parade

.

There are, of course, some pros and cons to calling over texting. Research has shown that people who call feel more connected to one another vs. texting, with the voice being an integral component of bonding. As our society becomes increasingly more distant and lonely, finding those moments might be more important than ever.

At the same time, calling can invoke a lot more anxiety compared to texting, which could lead someone to not communicating at all. Also, I don’t know about you, but the thought of having to call my partner for mundane things like “don’t forget the eggs” would drive me crazy.

But regardless of whether or not you adopt Kidman and Urban’s no-texting rule, perhaps the bigger takeaway is that relationship longevity depends on being able to establish your own rules. One that feels good and that each partner is able to stick to. Especially when it comes to communication.

As Urban himself told E! News at the CMT Music Awards, “I have no advice for anybody,You guys figure out whatever works for you…We’re figuring it out. You figure it out. Everybody’s different. There’s no one size fits all.”

Luckily, there are many ways to have good text hygiene, without having to do away with it completely. Very Well Mind suggests to avoid texting too many questions, and to be respectful of your partner’s schedule (probably best to not text them while they’re sleeping just to say “hey,” for example). Nor should texting be used to argue or deal with conflict. Lastly, probably save the lengthy, in-depth conversations for a phone call. Fifteen heart emojis are totally fine though.

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‘Inside The NBA’ Had Draymond Green Put A Fish In A Headlock For ‘Gone Fishin’

warriors-fishin-top
TNT

Each year in the playoffs, TNT’s Inside the NBA crew sends teams ‘Gone Fishin’ after they are eliminated from the postseason. The fellas put on bucket hats and get fishing poles out, while the graphics crew photoshops players and famous fans of the team onto a fishing boat.

It’s become an annual tradition that’s become it’s own segment on the show, and while it’s always in good fun, it gives the guys one last chance to get some jokes in before turning the page on that team. On Tuesday night, they got to send the Golden State Warriors off to the lake after the Kings eliminated them in the 9/10 Play-In Game out West, and the graphics team couldn’t help poking some fun at Draymond Green’s kerfuffles this year by having him put a fish in a headlock (on a boat named “Choke Job”), like he did to Rudy Gobert earlier in the season.

The best part of it is the only person that seems to acknowledge it is Shaq, who gets a legit laugh out of seeing the pic for the first time, while all Charles Barkley is focused on is trying to remember the name of “my man from Star Wars” — George Lucas — who they put on the boat.

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Charli XCX And Troye Sivan Are Teaming Up Once Again, This Time On The Co-Headlining ‘Sweat’ Tour

charli xcx
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Charli XCX finally revealed what she was teasing with Troye Sivan — and it’s that the two are doing a new co-headlining tour.

Titled the Sweat tour and tied to Charli’s upcoming album, Brat, they will kick things off in Detroit this September, before heading to arenas across North America. Shygirl will be opening for all dates.

For those hoping to attend, the pre-sale opens next Thursday, April 25 at 10 a.m. local time. Registration to participate in the pre-sale is available here. From there, tickets will go on sale to the general public on Friday, April 26 at the same time.

Continue scrolling for a complete list of dates.

Charli XCX & Troye Sivan’s 2024 Sweat Tour Dates

09/14 — Detroit, MI @ Little Caesars Arena
09/16 — Laval, QC @ Place Bell
09/18 — Toronto, ON @ Scotiabank Arena
09/20 — Columbus, OH @ Nationwide Arena
09/23 — New York, NY @ Madison Square Garden
09/25 — Philadelphia, PA @ Wells Fargo Center
09/26 — Baltimore, MD @ CFG Bank Arena
09/28 — Boston, MA @ TD Garden
09/30 — Chicago, IL @ United Center
10/02 — Nashville, TN @ Bridgestone Arena
10/03 — Atlanta, GA @ State Farm Arena
10/05 — Miami, FL @ Kaseya Center
10/06 — Orlando, FL @ Kia Center
10/09 — Dallas, TX @ American Airlines Center
10/11 — Denver, CO @ Ball Arena
10/13 — Phoenix, AZ @ Footprint Center
10/15 — Los Angeles, CA @ Kia Forum
10/18 — San Diego, CA @ Viejas Arena
10/20 — San Francisco, CA @ Chase Center
10/22 — Portland, OR @ Moda Center
10/23 — Seattle, WA @ Climate Pledge Arena

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

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Here Is The Full TV Schedule For The First Round Of The NBA Playoffs

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The 2024 NBA Playoffs will officially get underway on Saturday, although postseason basketball has already begun with the Play-In Tournament that started on Tuesday night.

Those games saw the Lakers take hold of the West’s 7-seed to set up a rematch of last year’s Western Conference Finals with the 2-seeded Nuggets, while the Kings avenged a first round loss a year ago by sending the Warriors into their offseason in the 9/10 game. Sacramento will now go to New Orleans to play for the 8-seed and the right to face the Thunder in the first round, while the East’s Play-In action will get underway on Wednesday night.

The NBA waited for the West’s seeding to get sorted out before releasing the full schedule for the first round, but teams and networks needed to get travel plans together so late Tuesday night they released the complete schedule for the first week of games, along with the dates for all 7 potential games in a series — with the understanding anything beyond a Game 4 are only if necessary.

1. Oklahoma City Thunder vs. 8. Pelicans/Kings

Game 1 (Sunday, 4/21): Pelicans/Kings at Thunder (9:30 p.m. ET, TNT)
Game 2 (Wednesday, 4/24): Pelicans/Kings at Thunder (9:30 p.m. ET, TNT)
Game 3 (Saturday, 4/27): Thunder at Pelicans/Kings (3:30 p.m. ET, TNT)
Game 4 (Monday, 4/29): Thunder at Pelicans/Kings (TBD, TBD)
Game 5 (Wednesday, 5/1): Pelicans/Kings at Thunder (TBD, TBD)*
Game 6 (Friday, 5/3): Thunder at Pelicans/Kings (TBD, TBD)*
Game 7 (Sunday, 5/5): Pelicans/Kings at Thunder (TBD, TBD)*

2. Denver Nuggets vs. 7. Los Angeles Lakers

Game 1 (Saturday, 4/20): Lakers at Nuggets (8:30 p.m. ET, ABC)
Game 2 (Monday, 4/22): Lakers at Nuggets (10:00 p.m. ET, TNT)
Game 3 (Thursday, 4/25): Nuggets at Lakers (10:00 p.m. ET, TNT)
Game 4 (Saturday (4/27): Nuggets at Lakers (8:30 p.m. ET, ABC)
Game 5 (Monday, 4/29): Lakers at Nuggets (TBD, TBD)*
Game 6 (Thursday, 5/2): Nuggets at Lakers (TBD, TBD)*
Game 7 (Saturday, 5/4): Lakers at Nuggets (TBD, TNT)*

3. Minnesota Timberwolves vs. 6. Phoenix Suns

Game 1 (Saturday, 4/20): Suns at Wolves (3:30 p.m. ET, ESPN)
Game 2 (Tuesday, 4/23): Suns at Wolves (7:30 p.m. ET, TNT)
Game 3 (Friday, 4/26): Wolves at Suns (10:30 p.m. ET, ESPN)
Game 4 (Sunday, 4/28): Wolves at Suns (9:30 p.m. ET, TNT)
Game 5 (Tuesday, 4/30): Suns at Wolves (TBD, TBD)*
Game 6 (Thursday, 5/2): Wolves at Suns (TBD, TBD)*
Game 7 (Saturday, 5/4): Suns at Wolves (TBD, TNT)*

4. Los Angeles Clippers vs. 5. Dallas Mavericks

Game 1 (Sunday, 4/21): Mavs at Clippers (3:30 p.m. ET, ABC)
Game 2 (Tuesday, 4/23): Mavs at Clippers (10:00 p.m. ET, TNT)
Game 3 (Friday, 4/26): Clippers at Mavs (8:00 p.m. ET, ESPN)
Game 4 (Sunday, 4/28): Clippers at Mavs (3:30 p.m. ET, ABC)
Game 5 (Wednesday 5/1): Mavs at Clippers (TBD, TBD)*
Game 6 (Friday, 5/3): Clippers at Mavs (TBD, TBD)*
Game 7 (Sunday, 5/5): Mavs at Clippers (TBD, TBD)*

1. Boston Celtics vs. 8. Hawks/Bulls/Heat/Sixers

Game 1 (Sunday, 4/21): 8-Seed at Celtics (1:00 p.m. ET, ABC)
Game 2 (Wednesday, 4/24): 8-Seed at Celtics (7:00 p.m. ET, TNT)
Game 3 (Saturday, 4/27): Celtics at 8-Seed (t:00 p.m. ET, TNT)
Game 4 (Monday, 4/29): Celtics at 8-Seed (TBD, TBD)
Game 5 (Wednesday, 5/1): 8-Seed at Celtics (TBD, TBD)*
Game 6 (Friday, 5/3): Celtics at 8-Seed (TBD, TBD)*
Game 7 (Sunday, 5/5): 8-Seed at Celtics (TBD, TBD)*

2. New York Knicks vs. 7. Heat/Sixers

Game 1 (Saturday, 4/20): Heat/Sixers at Knicks (6:00 p.m. ET, ESPN)
Game 2 (Monday, 4/22): Heat/Sixers at Knicks (7:30 p.m. ET, TNT)
Game 3 (Thursday, 4/25): Knicks at Heat/Sixers (7:30 p.m. ET, TNT)
Game 4 (Sunday, 4/28): Knicks at Heat/Sixers (1:00 p.m. ET, ABC)
Game 5 (Tuesday, 4/30): Heat/Sixers at Knicks (TBD, TBD)*
Game 6 (Thursday, 5/2): Knicks at Heat/Sixers (TBD, TBD)*
Game 7 (Saturday, 5/4): Heat/Sixers at Knicks (TBD, TNT)*

3. Milwaukee Bucks vs. 6. Indiana Pacers

Game 1 (Sunday, 4/21): Pacers at Bucks (7:00 p.m. ET, TNT)
Game 2 (Tuesday, 4/23): Pacers at Bucks (8:30 p.m. ET, NBATV)
Game 3 (Friday, 4/26): Bucks at Pacers (5:30 p.m. ET, ESPN)
Game 4 (Sunday, 4/28): Bucks at Pacers (7:00 p.m. ET, TNT)
Game 5 (Tuesday, 4/30): Pacers at Bucks (TBD, TBD)*
Game 6 (Thursday, 5/2): Bucks at Pacers (TBD, TBD)*
Game 7 (Saturday, 5/4): Pacers at Bucks (TBD, TNT)*

4. Cleveland Cavaliers vs. 5. Orlando Magic

Game 1 (Saturday, 4/20): Magic at Cavs (1:00 p.m. ET, ESPN)
Game 2 (Monday, 4/22): Magic at Cavs (7:00 p.m. ET, NBATV)
Game 3 (Thursday, 4/25): Cavs at Magic (7:00 p.m. ET, NBATV)
Game 4 (Saturday, 4/27): Cavs at Magic (1:00 p.m. ET, TNT)
Game 5 (Tuesday, 4/30): Magic at Cavs (TBD, TBD)*
Game 6 (Friday, 5/3): Cavs at Magic (TBD, TBD)*
Game 7 (Sunday, 5/5): Magic at Cavs (TBD, TBD)*

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How To Buy Tickets For Charli XCX And Troye Sivan’s ‘Sweat’ Tour

Charli XCX
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Avant-pop singer Charli XCX, just two months from the release of her sixth album, Brat, and Australian singer-songwriter Troye Sivan, who just teamed up with Ariana Grande, are teaming up this autumn for the co-headlining Sweat Tour. Supported by English DJ Shygirl, the tour promises in a press release to turn “iconic US and Canadian venues into raves.” Here’s how you can buy tickets:

Beginning on Friday, April 26 at 10 AM local time, you can hit LiveNation.com for the general sale, but you can sign up for the advance presale now through April 25 at sweat-tour.com. The limited-quantity artist presale begins Thursday, April 25 at 10 AM local time. You can see the list of tour dates below.

09/14, 2024 – Detroit, MI @ Little Caesars Arena
09/16, 2024 – Laval, QC @ Place Bell
09/18, 2024 – Toronto, ON @ Scotiabank Arena
09/20, 2024 – Columbus, OH @ Nationwide Arena
09/23, 2024 – New York, NY @ Madison Square Garden
09/25, 2024 – Philadelphia, PA @ Wells Fargo Center
09/26, 2024 – Baltimore, MD @ CFG Bank Arena
09/28, 2024 – Boston, MA @ TD Garden
09/30, 2024 – Chicago, IL @ United Center
10/02, 2024 – Nashville, TN @ Bridgestone Arena
10/03, 2024 – Atlanta, GA @ State Farm Arena
10/05, 2024 – Miami, FL @ Kaseya Center
10/06, 2024 – Orlando, FL @ Kia Center
10/09, 2024 – Dallas, TX @ American Airlines Center
10/11, 2024 – Denver, CO @ Ball Arena
10/13, 2024 – Phoenix, AZ @ Footprint Center
10/15, 2024 – Los Angeles, CA @ Kia Forum
10/18, 2024 – San Diego, CA @ Viejas Arena
10/20, 2024 – San Francisco, CA @ Chase Center
10/22, 2024 – Portland, OR @ Moda Center
10/23, 2024 – Seattle, WA @ Climate Pledge Arena

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

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Henry Cavill Explained How His Absurd ‘Twirly-Whirly Mustache’ Helped Shape His Unhinged ‘Ministry of Ungentlemanly Warfare’ Character

Henry Cavill Ministry of Ungentlemanly Warfare
Lionsgate

Not everyone can grow facial hair. This is a known fact backed by science and genetics! That doesn’t mean that they can’t try. But some people are blessed with the ability to be a real-life chia pet, like Jack Black or Keanu Reeves (just one of his many talents). Henry Cavill has been known to play some clean-shaved men in the past, but his latest role shows off his impressive mustache, which is real.

Cavill stars in Guy Ritchie’s latest flick The Ministry of Ungentlemanly Warfare and while most critics are praising the plot and all that nonsense, the real story here is Cavill’s powerful beard, which he grew himself. “I did indeed grow that myself,” Cavill told People of his facial hair. he has come a long way from the infamous Mustache Debacle of Justice League.

“I didn’t have someone else grow it and then just take it on,” Cavill continued, because that would just be too easy. “I wanted to have an interesting bit of facial hair for this, just to switch things up. And a twirly-whirly mustache became an option and I thought, ‘I’m just going to keep on leaning into this.’” He could consider auditioning for the role of Milburn Pennybags for Margot Robbie’s upcoming Monopoly pic.

In The Ministry of Ungentlemanly Warfare , Cavill portrays a fictional version of Major Gus March-Phillips, founder of the British Army’s Special Forces. He stars alongside Eiza González, Alan Ritchson, Alex Pettifer, Tig Schweiger, and Henry Golding in the flick, which hits theaters this week.

Of the hair, Cavill grew quite fond of its unruliness, saying it “became quite a fun look, and it sort of helped inform my character a bit as well, because having facial hair like that sort of implies a certain personality.”

Besides his hair, Cavill is mostly proud of his Nazi-killing tactics in the film, which is followed by some aggressive tongue movements. “It was a co-improvisation between Guy and myself,” Cavill told Variety. “Guy said, ‘I want you to have more fun with it. Stick your tongue out or something.’ And so we did and it stuck, as featured quite well in the trailer. That was the first moment where we decided Gus was going to be slightly unhinged in these moments, and that makes it more fun.” Just like a twisty mustache.

(Via People)

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Why Cindy Lee’s ‘Diamond Jubilee’ Resonates As A Left-Field, Feel-Good Indie Rock Story

Cindy Lee
Realistik Studios

If you will allow me to sound like a 10,000-year-old man for a minute: I recall a time when the internet felt bigger. Remember that? It was like the Wild West, only cleaner and more murderous.

Back then, I had a routine and I would wager you had the same routine if you were a music fan. It goes like this: You wake up, you log on, and you start circulating through a mental checklist of websites and blogs. Might be 10, might be 15, might be 50. But you punch in the URL for each one. Then, you peruse every front page like it’s a magazine, dipping in on this link and lingering at this other link. Most of the stuff you read is about things you have never heard of. You discover a lot of music you don’t care about, a decent amount of music you actively dislike, and — if you’re lucky — a song or two that you enjoy and maybe even kind of love. But if you don’t find that song or two, the routine is still nice, like taking a leisurely walk through a vast digital space. Only you don’t realize how nice it is, because it’s routine. But it won’t be for long.

That digital space isn’t so vast anymore. I mean, it is big, but most of us are now housed behind the thick walls of social-media apps and streaming platforms. We don’t go out much anymore. We stay in one place and have our content delivered like UberEats. For a music fan, there is still so much to discover and enjoy. And a lot of it comes from artists who don’t receive nearly the attention they deserve. But the meals keep coming in five-minute intervals. You try to gorge as the endless scroll shotguns sustenance in your general direction, but you can only take so much. What was once fun now seems like work.

If you relate at all to the previous three paragraphs — and if you are also interested in left-field, word-of-mouth indie-rock hits — there’s a good chance you have fallen under the spell of Diamond Jubilee, a 32-song retro-pop masterwork by a songwriter, guitarist and drag performer based in North Carolina named Patrick Flegel, who currently records and performs under the moniker Cindy Lee. On March 29, Flegel released Diamond Jubilee on YouTube and via a “Wild West internet era”-looking GeoCities site, where they solicited a voluntary $30 fee — in Canadian dollars, as Flegel originally hails from Calgary — for the expansive double album. There were no advance singles, no press photos, and no PR campaign of any kind. It was not available to stream on Spotify or Apple Music, and it was not put up for purchase on Bandcamp. Diamond Jubilee was, for all intents and purposes, off the grid for how music is typically heard and discovered in 2024.

And yet, in just a few short weeks, Diamond Jubilee became one of the most critically acclaimed and — among a small-ish but quickly growing cult following — intensely adored indie albums of recent years. I heard about it in early April, after my podcast partner Ian Cohen recommended it on our show. Over the following weekend, I quickly became obsessed. Here was an immersive LP that tried to encapsulate a pocket history of modern popular music — ’60s Motown, ’70s bubblegum pop, ’80s C86 jangle, ’90s lo-fi indie — in a way that felt warmly familiar and fascinatingly alien. It was like a record you knew you already loved but couldn’t remember ever hearing before. The lyrics were lovelorn and miserably romantic, endlessly dwelling on doomed affairs in the manner of all classic pop tunes. And the music evoked the underground rock of the 1980s (particularly the “Velvet Underground meets Phil Spector” girl-group goth-isms of The Jesus And Mary Chain), the ’90s (think Broadcast meets Belle And Sebastian) and the aughts era acts that were similarly drawn to collisions of pure throwback pop and droning noise (The Concretes, Camera Obscura, Saturday Looks Good To Me). The pileup of references and allusions were irresistible for a critic inclined to dissect pop songs, but Diamond Jubilee ultimately exists outside of time or carefully curated genres. That’s what so cool about it. It’s like listening to the best of the past harmonize with an exciting future, right here in our boring present.

And then there was the matter of how Diamond Jubilee was released. If the album itself invites you into a world that feels singular and also weirdly reassuring, the flaunting of modern music platforms made the online world feel a little bigger again. If you wanted to hear Diamond Jubilee, you had to take at least a small step outside the internet’s usual fortified walls. As Aquarium Drunkard — a stalwart holdover from the Wild West days — put it,Diamond Jubilee feels like a throwback to a different, weirder, cooler, better era in independent music.”

By the time that Pitchfork awarded Diamond Jubilee its highest score in four years last week, something had … happened. One couldn’t help but note the improbability of this album’s rapid ascent in the midst of rollouts for two of the year’s most massive pop juggernauts, one of which has already dominated popular discourse (Beyoncé’s Cowboy Carter) and one that will surely be escapable once it drops on Friday (Taylor Swift’s The Tortured Poets Department). To be clear: Cindy Lee has not and will not garner even a tiny fraction of the dialogue afforded those blockbusters. But it still feels like a glitch in the matrix, the kind of record that is not supposed to be here but is definitely here nevertheless. The sort of upstart success that was presumed to be impossible without TikTok or some other social-media chicanery. Diamond Jubilee might be a great album, but it’s an even better story.

As readers of Pitchfork scrambled to YouTube or tried in vain to figure what GeoCities is, some grumbled that the release strategy was a gimmick. As if putting WAV files on a site so janky that X (formerly Twitter) wouldn’t let me post a link is some can’t-miss publicity scheme. The criticism also overlooks Flegel’s long career — hardly a flash-in-the-pan, they have put out seven albums as Cindy Lee following a stint as a member of the influential and combustible ’00s indie band Women. In the Cindy Lee guise, Flegel performs in a sequin dress, fur coat, boots, and blue wig, singing in a ghostly falsetto and playing beautiful guitar lines over pre-recorded backing tracks. Judging by YouTube clips — Flegel is currently in the midst of a “farewell” tour that has suddenly become a hot ticket — the vibe of the live show approximates Dean Stockwell’s theatrical pantomime of Roy Orbison’s “In Dreams” from Blue Velvet. It is spooky and lovely, melancholy and tough, and always unpredictable.

The paradox of writing about Diamond Jubilee is that it threatens to undermine the album’s charm. Flegel has already expressed misgivings about engaging their fans in the music press. No matter the protestations of hype-averse skeptics, Flegel did not actively court indie fame before the album’s release. “If you want to sell units sometimes you have to do stuff,” Flegel told Gimme Zine in 2020, when they were just starting to conceive Diamond Jubilee. “I got a publicist for the last record, but you watch the press and publicist (who’s a friend of mine) people stumbling around queer… branding you… the whole thing makes me squirm.”

In another interview, Flegel gives some clues to Diamond Jubilee‘s backstory when they talk about listening to AM oldies radio as a child in the ’90s along with contemporary hits by everyone from Soundgarden to C+C Music Factory. These catholic tastes are evidenced by the oft-surprising combination of music styles on Diamond Jubilee — the Philly soul strings stabbing through the springy GBV-esque guitars on “Olive Drab,” the bassline lifted from Tommy James’ “Draggin’ The Line” that melds with the clanging Joy Division sonics of “Flesh And Blood,” the guitar lick that somehow nods to both Can and Coldplay’s “Strawberry Swing” in “Kingdom Come,” the unlikely summit of The Supremes and The Brain Jonestown Massacre that is “If You Hear Me Crying.”

After surveying Cindy Lee’s previous work, the relative accessibility of these songs is immediately apparent. Flegel typically slathers their melodies with paint-peeling squalls of white noise; on this record, the songs beam and crackle brightly like transmissions from a magical transistor radio. This soothing aspect to Diamond Jubilee apparently was intentional. “The kind of music I have been listening to more, over the last four or five years, has been basically easy listening, light music,” Flegel told Gimme Zine. “What I have in my head is a pleasant-sounding record that’s comforting and isn’t just some kind of hell ride.”

Diamond Jubilee is composed of material stockpiled during the pandemic-era lockdown, though the final result sounds like a carefully plotted concept record documenting the career of a late, great (and imaginary) pop group. I burned the songs onto two CD-Rs, and listening to Diamond Jubilee this way enhances the feeling of listening to a greatest hits collection of made-up “greatest hits.” The first disc is very good but somewhat less refined, with nods to the dulcet third VU record (“Wild One”), grindhouse Eurotrash horror soundtracks (“Le Machiniste Fantome”), and The Pod era Ween (“Demon Bitch”). The second disc, meanwhile, is a near-masterpiece, affecting a more consistent psych-soul sound that moves from sinister (“Stone Faces”) to delirious (“Dracula”) to heartbroken (“If You Hear Me Crying”) to haunted (“Durham City Limit”).

I wonder what Flegel thinks now that Diamond Jubilee has reached listeners outside the usual ranks of Cindy Lee fans. I hope they are proud of making an album that’s already touched a lot of people, as well as the achievement of denting our stultifying music and media system in a small but significant way. It’s good to be reminded of that vast world beyond the walls we willfully imprison ourselves inside of. Out there, there are many diamonds in the rough, just waiting to be discovered.

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Sydney Sweeney’s Fans Came To Her Defense After A Producer Said She’s ‘Not Pretty’ And ‘Can’t Act’

sydney sweeney leak
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Not everyone is convinced by Sydney Sweeney‘s rise to the A list.

Producer Carol Baum, whose work includes Kicking and Screaming, Father of the Bride, and the pre-TV show Buffy the Vampire Slayer movie, claimed that the actress is “isn’t pretty” and “can’t act.” She made the comments during a discussion with New York Times film critic Janet Maslin at a screening of David Cronenberg’s Dead Ringers last week, according to the Daily Mail.

“I don’t get Sydney Sweeney. I was watching on the plane Sydney Sweeney’s movie because I wanted to watch it,” Baum said about Anyone But You, Sweeney’s romantic comedy with Glen Powell. “I wanted to know who she is and why everybody’s talking about her. I watched this unwatchable movie — sorry to people who love this movie — [this] romantic comedy where they hate each other.” She continued:

Referencing the producing class she teaches at the USC School of Cinematic Arts, Baum added: “I said to my class, ‘Explain this girl to me. She’s not pretty, she can’t act. Why is she so hot?’ Nobody had an answer but then the question was asked, ‘Well if you could get your movie made because she was in it, would you do it?’ I said, “Well that’s a really good question… that’s a very hard question to answer because we all want to get the movie made and who walks away from a green light? Nobody I know. Your job is to get the movie made.”

Sweeney has been outspoken about people not taking her seriously as an actor because they’re too focused on… you know. “The White Lotus has been a completely different kind of turning point,” she told Cosmopolitan in 2022. “I don’t think as many people took me seriously in Euphoria because I took my shirt off. With The White Lotus, all of a sudden, all these people came out of the woodwork like, ‘You’re the most amazing…’ and I’m like, ‘But I went through the craziest emotional roller coaster in Euphoria.’ So, thanks?”

Sweeney’s fans came to her defense on social media:

“Why are people so mean to Sydney Sweeney? Just stop it.” — @FilmMomatic

“me if i were blind” — @ZoeRoseBryant

“Never seen her act but if you put this woman in front of a cartoon dog or cat from the 50s their eyes would pop fully out of their sockets” — @yellowpackjim

“I legit through this was satire for a sec. She then goes to say she would produce a film with her in it, if it makes money. So why say this out loud?” — @emmie_rylan

“This is like when I say NBA players aren’t athletic and can’t ball” — @purple_n_orange

“I’m, she’s legit one of the most beautiful women in the world by most standards. I also think she is a very solid actor, and seems like a decent person who works hard for her success. And regardless, this is just a shitty thing to say about someone.” — @TheMikeSnyder

“Is this the new ‘Margot Robbie is mid’? Idk, how about we just let women live?” — @_Britt_Martinez

“I think maybe people should just stop being so mean to this young woman” — @TheMovieMermaid

You can watch Sweeney give a very good performance in Immaculate, now out on digital.

(Via the Daily Mail)

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Which Kevin Costner Movie Was Chris Hemsworth Dying To Star In As A ‘Horse Wrangler’ And The Romantic Lead?

Chris Hemsworth
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Chris Hemsworth might be one of the biggest rising stars in Hollywood, but he still can’t snatch roles away from Kevin Costner.

While attending this year’s CinemaCon, Hemsworth revealed that he tried to enter the Western genre after falling in love with a script, but he was rebuffed by the Yellowstone star, who was already attached to the part. Costner had no intentions of giving up the role despite Hemsworth’s best efforts.

Via Entertainment Tonight:

“There was a movie, a script that I’d read and loved and was like, ‘I want to get that,’ and then someone said, ‘Kevin Costner has that [role],’” Hemsworth told ET‘s Kevin Frazier. “I’d love [to have] him as a director. I was like, ‘Goddamnit!’ [I spent] an hour the other day trying to convince him and he was like, ‘I’m doing it, kid.’ Didn’t work. I didn’t get the part.”

As for why Costner didn’t hand over the role, he gave a hilariously blunt response to ET about telling the Thor star to “wait his turn.”

“As long as I’m still young enough to play it, I’ll play it,” Costner quipped before taking a moment to speak highly of Hemsworth.

“He’s so handsome and he’s so good,” Costner said. “He’s going to have to go find his [own] love story. [But] I’m glad he likes this one. If I reach a moment where I [don’t] think I could do that, I would [reach out]. He’s certainly one of our great leading men right now.”

Neither Costner nor Hemsworth revealed the film, but a quick look at Costner’s IMDb page says he has an untitled project with Ariel Vromen on his acting slate. Costner is also listed as the writer of the film, which could explain his reluctance to part with the role if it’s the project that Hemsworth was talking about.

(Via Entertainment Tonight)

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Drake Shares A Supposed DM Exchange In Which He Accuses Rick Ross Of Being A ‘Worker’ And Exaggerating His Wealth

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It seems like Drake and Rick Ross aren’t burying the hatchet anytime soon. Yesterday (April 16), Drake shared a few Instagram Stories featuring supposed exchanges between him and Ross.

He captioned one of the Stories, saying, “Look how I talk to this turkey. You shoulda just asked for another feature.”

In a DM to Ross featured in the Story, Drake accuses Ross of exaggerating his luxurious lifestyle.

“Your star island house on a sliver of cheesecake,” Drake said to Ross. “your lot 40000 square feet my crib 40000 square feet Leonard.”

“And you put a wrap on your timeshare jet. That sh*t coming off when it’s the other people turn to fly,” Drake said, alluding to Ross’ customized Gulfstream G550.

One of Ross’ earliest hits was 2006’s “Hustlin’,” which introduced his entrepreneurial spirit with the catchy “everyday I’m hustlin’” chorus. However, Drake suggested that Ross is no longer a self-starter, claiming he’s a “worker” for Brett Berrish, founder of Luc Belaire champagne, which Ross is often seen drinking.

“You Brett Berrish [sic] worker. How many cases you gotta move before you got a cheque finally,” Drake said. “You’re Brett son now you not Rozay anymore.”

The exchange comes after back-and-forth disses, including Drake’s “Push Ups” and Ross’ response, “Champagne Moments.”

You can see the exchange above.