GloRilla has delivered some EPs and mixtapes, like 2022’s Anyways, Life’s Great and this year’s Ehhthang Ehhthang, but we haven’t gotten a proper album from Glo yet. Well, that changes soon: Today (September 19), GloRilla announced her debut album, Glorious.
The project is set to drop soon, on October 11. On top of that, she’s releasing a new song, “Hollon,” at midnight tonight, so in a few hours.
GloRilla revealed the news today by sharing the album cover art on social media and writing, “GLORIOUS da album dropping 10/11[fire emojis] So grateful to be sharing this with y’all and as a little treat I’m blessing y’all with HOLLON tonight at midnight. AYEEEEE.”
GloRilla actually let the cat partially out of the bag a few days ago when she said in an interview, “I’m dropping an album next month, in October. I’m so excited about that. We gon’ go No. 1! [The title] starts with a G.”
Meanwhile, Glo recently expressed interest in linking up with Megan Thee Stallion for a joint album, saying, “Megan is a real rapper, and I’m also a real rapper. We actually be talking and coming with bars on some down South gangsta sh*t. [It would be] some down South, real turnt, real rap [sh*t].” Meg also said, “I think that would be very fire. I ain’t gon’ say too much, but it feels like it’s going to get done.”
GloRilla’s Glorious Album Cover Artwork
CMG/Interscope
Glorious is out 10/11 via CMG/Interscope. Find more information here.
Aubrey Plaza has shown range when it comes to her baseline sarcastic persona. She can be a sarcastic lawyer, a sarcastic government employee, and even a sarcastic criminal. So why not throw a witch in there too?
Plaza appears in Disney+‘s Agatha All Along, the WandaVision spinoff that has been in the works for nearly four years. Fan-favorite Agatha Harkness, played by Kathryn Hahn, returns to the screen after her showdown with Wanda, though now she’s powerless and needs the assistance of a coven. This is where Rio Vidal comes in.
Rio Vidal is Plaza’s warrior witch who has a longstanding grudge against Agatha. At first, Rio seems like an ally to Agatha, but as you may recall from WandaVision, there are a lot of misleading illusions happening in this universe. It seems like the two witches have a complex history, which will be revealed as the series progresses.
When it comes to her powers, Rio is a Green Witch (not that kind) which means she channels her powers from earth elements. Plaza told Total Film, “I did research some stuff in the comics that was very helpful. The Green Witch is about nature. The Green Witch is about life and death and all kinds of things,” she said, adding, “There’s more to those characters than meets the eye, that’s all I can say.” She is also referred to as a “scary bitch” so that’s something!
In a preview for the series, Plaza described her character as “very powerful and mysterious and has almost a shape-shifting quality, where you kind of never know what version you’re going to get. So I was really excited about the challenge of that and getting to play a character that’s playing by [her] own rules.”
The first two episodes of Agatha All Along are now streaming on Disney+.
Back in May, Lizzy McAlpinetweeted, “i said i was never writing another song ever again after the painstaking process of making this album but unfortunately i can’t stop.” She wasn’t kidding: the “I Guess” singer is releasing a deluxe edition of her 2024 album Older as Older (And Wiser). It includes five extra songs, one of which, “Pushing It Down And Praying,” comes out on Friday, September 20, at midnight.
“i’m so excited about these new songs, we recorded 4 of them in 4 days at @electricladystudios after the east coast leg of tour, and the method acting demo i recorded + wrote with @ethangruska forever ago (2022),” she wrote on Instagram. “i hope you love them as much as i do.”
Older received rave reviews when it was released in April — for the most part. “I’ve seen so many people just be, like, ‘It’s really boring,’” McAlpine told The New Yorker. “It’s not [previous album] Five Seconds Flat, but Five Seconds Flat was so not me. I’m kind of losing the people who don’t actually care about my art, which is hard, but also good, probably, in the long run, because this album sounds the most like me that I’ve ever sounded. If people don’t f*ck with it, Five Seconds Flat is still there for them.”
Check out the tracklist for Older (And Wiser) below.
Lizzy McAlpine’s Older (And Wiser) Tracklist
1. “The Elevator”
2. “Come Down Soon”
3. “Like It Tends To Do”
4. “Movie Star”
5. “All Falls Down”
6. “Staying”
7. “I Guess”
8. “Drunk, Running”
9. “Broken Glass”
10. “You Forced Me To”
11. “Older”
12. “Better Than This”
13. “March”
14. “Vortex”
15. “Method Acting” (demo)
16. “Pushing It Down And Praying”
17. “Soccer Practice”
18. “Force Of Nature”
19. “Spring Into Summer”
Older (And Wiser) is out 10/4 via RCA Records. Find more information here.
All of that was a preamble to Sing Your Song! As We Fix Our Nation’s Broken Heart, Wonder’s newly announced 10-date tour ahead of the 2024 US presidential election.
Stevie Wonder’s Sing Your Song! As We Fix Our Nation’s Broken Heart 2024 Tour Dates
10/08 — Pittsburgh, PA @ PPG Paints Arena
10/10 — New York, NY @ Madison Square Garden
10/12 — Philadelphia, PA @ Wells Fargo Center
10/15 — Baltimore, MD @ CFG Bank Arena
10/17 — Greensboro, NC @ Greensboro Coliseum
10/19 — Atlanta, GA @ State Farm Arena
10/22 — Detroit, MI @ Little Caesars Arena
10/24 — Milwaukee, WI @ Fiserv Forum
10/27 — Minneapolis, MN @ Target Center
10/30 — Grand Rapids, MI @ Van Andel Arena
How To Buy Tickets For Stevie Wonder’s Sing Your Song! As We Fix Our Nation’s Broken Heart Tour
According to the tour’s official website, tickets will go on sale on Friday, September 20, at 12 p.m. local time.
According to Variety, Wonder’s aim for the tour is to promote “joy over anger, kindness over recrimination, peace over war.” A designated number of complimentary tickets will be made available “to those in our communities who are already working tirelessly to fix our nation’s broken heart.”
The jam-band scene historically has been as static as the music is fluid. Particularly at the top, where the same handful of groups have remained for decades: Phish, The Dead and their offshoots, Dave Matthews Band, Widespread Panic, Umphrey’s McGee, and then the rest. Consider it a byproduct of perhaps the most loyal (and the most critical) constituency in all of popular music. To make it in this world, you must perform at a high level for a long time while withstanding the judgements of an obsessive, generous, cantankerous, smart and borderline psychotic audience.
It’s not easy. The jam scene is skeptical of hype, trendiness, and potential phonies. (It is, however, uniquely accepting of musicians who wear shorts on stage.) But in the 2020s, there’s been a class of rising stars who might one day play the arenas and stadiums currently populated by Phish and Dead & Company. Two of the biggest bands in this space are Goose and King Gizzard & The Lizard Wizard. (There’s also Billy Strings, who I am mentioning here because whenever I bring up Goose or King Gizzard in relation to the current jam scene, at least one semi-testy individual will inevitably bring up the new king of jam-grass. But Billy Strings isn’t a “band,” he’s a solo artist, I’m talking about bands here, is my inevitable reply. Of course, this semantic argument is never effective. Anyway: I am tabling the Billy Strings conversation for now, as I will be writing about him next week.)
Anyway: I am interested in both Goose and King Gizzard, and I am interested in Goose and King Gizzard in relation to one another. Because these are two very different bands, and they are good for very different reasons. The former is a quintet from Connecticut, and the latter is a sixpiece from Australia. The former is influenced Phish and aughts-era indie rock, and the latter is influenced by every popular genre of music since approximately 1968. The former has covered the Ghostbusters theme song live, and the latter once put out an album called PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation. The former has been endorsed by Trey Anastasio, and the latter has been endorsed by Trey Anastasio. (Scratch that last one — differentiating jam bands with “endorsed by Trey Anastasio” is like differentiating people with “breathes oxygen.”)
If you are at all engaged with the jam-oriented sectors of social media — I understand if you’re not, especially if you value mental health — you have probably noticed these bands being pitted against each other. (Though these comparisons tend to go in one direction. More on that in a moment.) In that way, Goose and King Gizzard have become rivals. Which is not to say that Goose and King Gizzard are actually feuding — the only tangible smoke between them occurred in 2023 when two members of King Gizzard appeared on Tim Heidecker’s podcast Office Hours and claimed that Goose requested their own green room backstage at King Gizzard’s Red Rocks run. Apparently, this was a joke, which is a shame, as it would have been the most “jam band” event in the history of jam bands. (King Gizzard also invited the promising sorta-jammy indie band Geese to open their recent tour, which I wish was a troll of Goose but probably is not.)
As I have learned from studying this subject, rivals don’t have to be actually feuding — or have any kind of relationship — to be rivals. They just have to be perceived as having a binary relationship in the minds of fans. Like all worthy rivalries, Goose vs. King Gizzard resonates because they embody opposing ideas.
I want to write about this. Thankfully for me, I have an excuse. I saw both bands this month. And I saw them at the same 8,000-capacity venue. It was my first time seeing King Gizzard, and my fifth time seeing Goose. Though it was my first Goose experience after seeing King Gizzard, which by my math puts them on equal footing.
LET’S TALK ABOUT KING GIZZARD
The first point that must be made is that King Gizzard isn’t really a jam band. They are essentially garage-y prog rock group that sometimes decides to make an electronic record or a funk jam or an homage to sixties sunshine pop. On stage, they kind of resemble Queens Of The Stone Age if Josh Homme was more overtly influenced by Ween and Tool’s Lateralus. The longest number at the show I saw — “Hypertension,” also one of their best — clocked in at just under 20 minutes. But that’s just five minutes longer than the studio version. Another extended track, the mesmerizing synth tune “Theia,” ran for 12 minutes, almost exactly the midpoint between the three-and-a-half minute standard track and the nearly 21-minute “extended mix,” both contained on 2023’s The Silver Cord. Jam bands make short songs long, and prog bands just make long songs. King Gizzard fits in the second category.
King Gizzard also doesn’t follow the traditional “jam band” show structure established by the Dead and codified by Phish — two sets plus an intermission, with the first set being more “song” oriented and second set feeling spacier and more experimental. At a King Gizzard show, it’s just one solid block of music running for about two and a half hours, with no encore. And it’s all song-oriented. (To put this in perspective: Goose, who does follow the two-set blueprint, played 20 minutes longer despite performing seven fewer songs.) This can perhaps be attributed to cultural differences: As band members Joey Lucas and Lucas Harwood explained on Office Hours, there’s not a jam band scene in their country. It’s not the kind of status they pursued or even understand. “It’s crazy that people just follow us around for the whole tour,” Walker mused.
But even though King Gizzard doesn’t adhere to the formal definition of a jam band, they nevertheless feel like a jam band. And this is true for two reasons. No. 1, they have an absurdly dense mythos that recurs in lyrics and provides an arc to their voluminous discography. (Twenty-six albums in 15 years, though they might put out a new record by the end of this sentence.) The more time you spend listening to and thinking about King Gizzard, the better they sound. And that is basically the definition of jam-band music.
No. 2, King Gizzard’s live show has been a key ingredient to their success. Jam bands historically have built audiences by allowing fans to tape their shows, and then distribute them. (The honor system requires that tapes be shared for free, though in the vinyl and CD store era this code was frequently violated.) In recent years, Nugs.net and Bandcamp have been critical hubs for distributing video live streams and concert recordings (beyond the DIY tapers, of course). But on their recent tour, King Gizzard has gone one step further by posting live-streamed video of every show for free on YouTube and then allowing listeners to download a soundboard recording for a “name your price” fee on Bandcamp. For a band that improves with constant exposure, it’s never been easier to be constantly exposed to King Gizzard.
In my review of King Gizzard’s most recent LP, Flight b741, I dinged them for what I see as their biggest weakness — occasionally nondescript songwriting. For a band this prolific, and with virtually no fidelity to any particular style, this is hardly surprising. On their albums, they can come off as a “Jack of all trades, master of none”-type band. They try a lot of stuff, and some of it works and some of it doesn’t. As a result, the albums often don’t fully land.
On stage, however, this shortcoming is neutralized. Not only do they cherry-pick their best material, they also mix and match genre experiments to create a more well-rounded experience. (There’s also their infectious, puppy-dog energy, which comes through much stronger on stage than on record.) Even without the two-set structure, the show I saw felt like it had a satisfying flow and narrative to it. They opened with about an hour of blistering rock that sent the fans on the floor into fits of boisterous moshing. (Here, again, is another departure from jam-band convention — Phish or Dave Matthews don’t post warnings about mosh pit etiquette before their concerts.) After that, they drifted into a selection of electronic tunes from The Silver Cord that went on for almost a half hour. While the audience didn’t seem as engaged with this music, it was one of my favorite parts of the night, and the closest King Gizzard approximation to the “Drum/Space” portion of a Dead show. After that, the rock returned for the final hour.
My main takeaway was a mix of wonderment and appreciation that a band this unconventional and downright strange has caught as well as they have. As I walked out of the show I couldn’t make sense of it. But upon reflection King Gizzard seemed much broader than I initially believed. If I had to pin a specific genre on them, it would be “festival” music — like a good festival bill, they give you a little bit of everything. Some punk, some metal, some electronic music, and some crunchy boogie rock. It’s all there, all on the same stage.
Which is why, for all their strangeness, King Gizzard actually has more crossover potential than the typical jam band. I’m sure plenty of their fans aren’t even aware of King Gizzard being lumped into that scene. Lots of different people can fit under this tent, even those who reflexively recoil at the “jam band” tag.
LET’S TALK ABOUT GOOSE
When I first heard about Goose five years ago, what immediately impressed me was how impeccable their whole operation appeared to be. The way they played, their songwriting, how they presented themselves, the clearly defined personas of each member (“Zen” guitarist, “funny” second guitarist/keyboardist, “stoic” bassist, “nice guy” drummer) — they already seemed like a successful and popular band, even though they weren’t quite that yet.
But in the half-decade since, they have self-actualized themselves to the doorstep of arena-rock status. And they have done this methodically. I can’t think of another recent group where each time I have seen them in my area, it was at a different and progressively larger venue. Two years ago I saw them headline a club. Last year it was a theater. This year it was a large hall. Now, the neighborhood arena beckons.
Not that it has been a completely smooth ride. In the time since I last saw them, they replaced founding drummer Ben Atkind, who officially “departed” by choice though the move had some “not entirely consensual” vibes. He was replaced by Cotter Ellis, a more rambunctious player who joined second percussionist Jeff Arevalo and perpetually sunglasses-clad bassist Trevor Weekz in the rhythm section. But the power center of Goose remains the same: Guitarist Rick Mitarotonda is the main songwriter and musical focal point, and multi-instrumentalist and secondary composer Peter Anspach is the foil and de-facto frontman on stage.
As songwriters, Mitarotonda and Anspach have a traditional dichotomy that goes back to The Beatles — Mitarotonda is the “serious and spiritually minded” one, and Anspach is the “fun-loving and pop-leaning” guy. You can hear this dynamic play out on the really good live album out this month, Live At The Fox Theatre, which in typical jam-band fashion features several songs that haven’t come out yet on studio records, including Mitarotonda’s “A Western Sun” and Anspach’s “Red Bird,” which stand as some of Goose’s best numbers.
But for all of their differences, Mitarotonda and Anspach still arrive in the same place, which is valuing good pop-rock songs that work as well at three minutes as they do at 30. When I interviewed Goose for the first time in 2022, they were wary of the jam-band tag, in part because of the negative connotation (though I would argue that has lessened, even in the last two years), but also because they care about songs as much as jams. And that continues to be one of the best things about them (and a key to their success, even among jam-obsessed listeners).
On stage, they are remarkably consistent for a band in this scene. Goose can be great, or they can be merely good. But they are almost never terrible. This month’s show was the best I’ve seen them, in part because Ellis’ timekeeping gives the band greater dexterity and feel. But Goose also is good at zeroing in on the sorts of things that jam-bands do well — in essence, creating a hypnotic and danceable soundtrack that, like a good narcotic, makes your body and mind feel very good for about three hours — and executing it with maximum efficiency and professionalism. They sound like a band that was invented in a lab to create the perfect jam-band vibe.
And therein lies the paradox of Goose. This strength can also be viewed as a weakness. From what I can tell, this band attracts two kinds of haters. The first are middle-aged Phish fans who view Goose as poseurs (and also, I suspect, as a potential threat to Phish’s jam scene dominance). This is an easy group to disregard. As many others have observed, it’s the same dynamic Phish encountered 30 years ago from Deadheads. It comes off like rank haterism. (Also, Phish isn’t going anywhere, nor should they.)
The second group, however, I think has a point: Goose is not weird. They don’t look weird. They don’t sound weird. They don’t act weird. Moreover, there is nothing remotely dark or unsettling or “druggy” about their music. Like I said, Goose makes you feel good. They are inherently a “feel good” outfit. Which is only a problem if you want them to be more like The Dead (who dropped acid with Hell’s Angels and killed off four different keyboard players in progressively brutal fashion) or even Phish (whose “2.0” era from the early 2000s is sometimes thrilling and almost always depressing, particularly if you’re watching video of an alarmingly gaunt Trey).
But Goose isn’t like that. The darkest part of their history is parting ways with a drummer in publicly amicable fashion. Musically, they hew closer to John Mayer than Jerry Garcia. They’re a jam band for the Dead & Company generation, the people who came up at a time when this music was more mainstream and a lot less threatening. At the concert I saw, they covered Peter Gabriel’s “In Your Eyes,” and it was precisely the sort of sincere and warm-hearted and vaguely uncool gesture you would expect from Goose.
Which brings up back to the pretend (but also real) rivalry between Goose and King Gizzard. There’s a certain perception I have noticed where Goose is positioned as the “safe establishment” jam band and King Gizzard as the “unsafe underground” jam band. It might not be articulated in exactly those terms, but any time I have brought up Goose in a public forum, someone (usually multiple people) will bring up King Gizzard as an antidote. And it only goes one way — if Goose fans are harping on King Gizzard, I haven’t seen it. (It’s possible King Gizzard isn’t popular enough yet to have haters).
Perhaps Goose vs. King Gizzard is a jam-band callback to the age-old “Beatles vs. Stones” binary, with Goose in the clean-cut role and King Gizzard as the bad boys. Whatever it is, the perception is there. That King Gizzard joked about Goose asking for their own green room tells me they’re aware of it, too.
Now, it’s possible that as a lover of musical rivalries, I’m seeing things that aren’t there. But I don’t think so. And just so I’m not accused of encouraging the binary, I’ll add this: I’m a fan of both bands. And I think they’re both more adventurous than 99.9 percent of rock groups working today. King Gizzard for their fearless genre experimentation, and Goose for their focused and expert improvisations. If they do exist on a binary, I would argue that they complement each other. And it’s good for this formerly static scene. There’s enough jams for everyone.
Each week our staff of film and television experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
Last season on Futurama, Fry, Leela, Bender, & Co. took on an Amazon-like company formed by Mom; caught a rage virus; and got turned into toys (that was a weird one). In season 12 (which is technically the second half of season eight if you go by production order, but let’s stick with Hulu’s season designations for the sake of ease), the gang “embarks on mind-bending adventures involving birthday party games to the death, the secrets of Bender’s ancestral robot village, A.I. friends (and enemies), impossibly cute beanbags, and the true 5 million-year-old story behind the consciousness-altering substance known as coffee.” Guest stars include Danny Trejo, Cara Delevingne, and Kyle Maclachlan. (Read more about the new season here.)
This third season of Industry, overall, convinces me that there will be a future moment when this series will move beyond scoring critical acclaim and maintaining a loyal but relatively modest audience. Years into the future, this show could catch on with a whole new audience and be streamed into oblivion in a Suits-like way. That USA Network show maintained a dedicated enough audience to last a decade, but years later, the show’s exploding popularity on Netflix led NBC to double back and find new life in the franchise. It’s very easy to imagine Industry someday harnessing broad streaming appeal in the same way. (You can read our review here.)
Scrubs, Ted Lasso, and Shrinking creator Bill Lawrence’s comedy empire expands with Bad Monkey, a good show with a fun premise: Vince Vaughn plays a former cop who is now a health inspector in the Florida Keys. “But after stumbling upon a case that begins with a human arm fished up by tourists, he realizes that if he can prove murder, he’ll be back in. He just needs to get past a trove of Floridian oddballs and one bad monkey,” according to the plot synopsis. The show is based on author Carl Hiaasen’s novel of the same name, and has fun summer binge written all over it.
There’s been two big changes to Only Murders in the Building: the season is largely set in Los Angeles instead of New York City, and Selena Gomez is now Emmy nominee Selena Gomez. But what hasn’t changed is that the Martins, Steve and Short, are as funny as ever. Outside of that trio, the season 4 cast also includes Melissa McCarthy, Eugene Levy, Eva Longoria, Zach Galifianakis, Molly Shannon, Kumail Nanjiani, Richard Kind (!!!), Meryl Streep, Jane Lynch, Michael Cyril Creighton, and recent Oscar winner Da’Vine Joy Randolph.
11. Fight Night: The Million Dollar Heist (Peacock)
peacock
On October 26, 1970, Muhammad Ali made his return to boxing following a multi-year suspension. That same night, a hustler named Gordon “Chicken Man” Williams (played by Kevin Hart) hosted a party in Atlanta that ended with a $1 million heist. The Peacock eight-episode limited series is based on this event, as the Chicken Man tries to clear his name by attempting to convince one of the first Black detectives (Don Cheadle) in the city’s police force to bring those responsible to justice. The stacked ensemble also includes Taraji P. Henson, Terrence Howard, Chloe Bailey, Lori Harvey, and Samuel L. Jackson
Here’s a promise: if you make a movie as good as Green Room, I will watch whatever you make for the rest of your career. Rebel Ridge is the latest film from director and writer Jeremy Saulnier, and it stars Aaron Pierre as a former Marine who “grapples his way through a web of small-town corruption when an attempt to post bail for his cousin escalates into a violent standoff with the local police chief. He didn’t start this fight, but he will finish it.” And hey, if he wants to take out some neo-Nazis along the way, that would be cool, too.
You might know Brian Jordan Alvarez from his videos on TikTok and Instagram as TJ Mack, the singer of earworm “Sitting.” He’s also the star and creator of English Teacher, about a teacher who “often finds himself at the intersection of the personal, professional, and political aspects of working at a high school. Evan wants to be a principled person but often runs into trouble because of it.” His first lesson to his students: sitting is the opposite of standing.
There’s a few things you should know about Slow Horses:
1. As we previously wrote: “Each season is six episodes long and focuses on a distinct mystery or conspiracy and is full of little twists and turns and double-crosses. Sometimes there are stolen diamonds. Sometimes the slow horses will reveal themselves to be drug addicts or gambling addicts and it’ll muck everything up for a little. Sometimes you’ll be watching someone do something and assume they’re taking a brave and bold stance for righteousness and then realize they’ve been manipulated into accidentally doing the bidding of someone smarter and more conniving than they are.”
2. There is so much farting. Like, even more than you think.
The old man is back, and now he’s even older! In season 2 of the John Wick-like FX series, former CIA agent Dan Chase (played by Jeff “The Dude” Bridges) and ex-FBI assistant director Harold Harper (John Lithgow) are tasked with finding Emily Chase (Alia Shawkat) after she is kidnapped. But “as the stakes rise and secrets are uncovered, Emily finds herself in an identity crisis with dire implications,” according to the official plot synopsis, while Zoe McDonald (Amy Brenneman) makes “surprising moves into Chase’s world.”
Created by and starring Natasha Rothwell, How to Die Alone is about a “broke, fat, Black” employee at NYC’s JFK Airport who decides to change her life around following an accident at work. The comedy-drama series is about facing your fears, and Rothwell is a delight in the lead role. Give it a watch before she returns to The White Lotus for season three.
If you have an unhealthy relationship with TV shows (if you’re reading this, you probably do), have I got a movie for you! Jane Schoenbrun’s I Saw the TV Glow follows two outcasts played by Jaden Smith and Brigette Lundy-Paine who bond over a shared affection for The Pink Opaque, a Buffy the Vampire Slayer-like series with a deep, very ’90s lore. It’s a wonderful film not only about nostalgia, but also gender dysphoria. There’s a killer soundtrack, too.
The first Marvel Cinematic Universe show with a bare butt scene is a WandaVision spin-off about Kathryn Hahn’s breakout character, Agatha Harkness. Prepare to have *that song* stuck in your head again. The “gayest show” in the MCU stable also stars Aubrey Plaza, Patti LuPone, and Joe Locke.
3. Monsters: The Lyle and Erik Menendez Story (Netflix)
netflix
Following the (uncomfortable) success of Dahmer, Ryan Murphy and Ian Brennan’s “Monster” limited series returns with Monsters: The Lyle and Erik Menendez Story. This time, the focus is on the Menéndez brothers (played by Nicholas Alexander and Chavez Cooper Koch) who killed their parents (Javier Bardem and Chloe Sevigny), and the subsequent trial that turned into a media sensation. A third season has already been announced with Charlie Hunnam as Ed Gein.
I’ve said it before and I’ll say it again: more movies should star the wonderful trio of Carrie Coon, Natasha Lyonne and Elizabeth Olsen. So thank god for His Three Daughters, which follows three estranged sisters (bet you can guess who they’re played by!) as they reunite to care for their ailing father. The drama has been called the best movie of the year, which, again, is what happens when you put Carrie Coon, Natasha Lyonne, and Elizabeth Olsen in the same cast.
Colin Farrell’s scene-stealing performance in The Batman resulted in him being turned into a meme and, probably more impressively, getting a spin-off on Max. The Penguin explores Oswald Cobblepot’s (or as he’s called in the show, Oz Cobb’s) rise in the seedy Gotham underworld. The series, which also stars Cristin Milioti, Clancy Brown, and Theo Rossi, is getting comparisons to another crime drama in the HBO / Max family: The Sopranos. Not too shabby.
On Thursday, September 19, LCD Soundsystem announced a 12-show residency at Knockdown Center in Queens, New York, beginning on Thursday, November 21 and wrapping on Sunday, December 15. The residency will unfold over the course of three weekends.
“After last year’s successful run of shows at the venue, the 2024 residency will further explore the potential of the Knockdown space, expanding to include a variety of live openers, nightly afterparties featuring DJ sets from special guests, a DFA Records swap meet, an on-site iteration of the Michelin-starred Four Horsemen wine bar, and more,” a press release reads.
The general on-sale for tickets to all 12 shows will begin on Thursday, September 26, at 10 a.m. ET. American Express Card Members will have access to the Amex Pre-sale from Tuesday, September 24, at 10 a.m. local time until Wednesday, September 25, at 10 p.m. local time. Find more information about all pre-sale tickets here.
See all of LCD Soundsystem’s 2024 New York City residency dates below.
LCD Soundsystem’s 2024 Residency Dates
11/21 — Queens, NY @ Knockdown Center
11/22 — Queens, NY @ Knockdown Center
11/23 — Queens, NY @ Knockdown Center
11/24 — Queens, NY @ Knockdown Center
12/05 — Queens, NY @ Knockdown Center
12/06 — Queens, NY @ Knockdown Center
12/07 — Queens, NY @ Knockdown Center
12/08 — Queens, NY @ Knockdown Center
12/12 — Queens, NY @ Knockdown Center
12/13 — Queens, NY @ Knockdown Center
12/14 — Queens, NY @ Knockdown Center
12/15 — Queens, NY @ Knockdown Center
Metallica launched the M72 World Tour in 2023, in support of their album 72 Seasons. The tour has been chugging along since then and now it’s getting ready to enter a third year: Today (September 19), Metallica announced added 2025 tour dates for North America.
The new dates will continue the band’s “No Repeat Weekend” tradition, which means that two-night stands will have different setlists and support lineups for each show. The new tour dates feature two-night stays in Toronto; Nashville; Columbus, Ohio; Philadelphia; Tampa; Santa Clara; and Denver.
Tickets will be available starting with fan club pra-sales on September 23 at 10 a.m. local time. The general on-sale begins September 27 at 10 a.m. local time. More information can be found here.
Find the newly announced tour dates below.
Metallica’s 2025 Tour Dates: M72 World Tour
04/12/2025 — Las Vegas, NV @ Sick New World @ Las Vegas Festival Grounds
04/19/2025 — Syracuse, NY @ JMA Wireless Dome *
04/24/2025 — Toronto, ON @ Rogers Centre *
04/26/2025 — Toronto, ON @ Rogers Centre +
05/01/2025 — Nashville, TN @ Nissan Stadium *
05/03/2025 — Nashville, TN @ Nissan Stadium +
05/07/2025 — Blacksburg, VA @ Lane Stadium *
05/09/2025 — Columbus, OH @ Sonic Temple @ Historic Crew Stadium
05/11/2025 — Columbus, OH @ Sonic Temple @ Historic Crew Stadium
05/23/2025 — Philadelphia, PA @ Lincoln Financial Field +
05/25/2025 — Philadelphia, PA @ Lincoln Financial Field *
05/28/2025 — Landover, MD @ Northwest Stadium *
05/31/2025 — Charlotte, NC @ Bank of America Stadium *
06/03/2025 — Atlanta, GA @ Mercedes-Benz Stadium *
06/06/2025 — Tampa, FL @ Raymond James Stadium +
06/08/2025 — Tampa, FL @ Raymond James Stadium *
06/14/2025 — Houston, TX @ NRG Stadium *
06/20/2025 — Santa Clara, CA @ Levi’s Stadium +
06/22/2025 — Santa Clara, CA @ Levi’s Stadium *
06/27/2025 — Denver, CO @ Empower Field at Mile High +
06/29/2025 — Denver, CO @ Empower Field at Mile High *
* with Pantera and Suicidal Tendencies
+ with Limp Bizkit and Ice Nine Kills
In episode 1 of the WandaVision spin-off series, Agnes O’Connor (played by the always delightful Kathryn Hahn) is trapped in a police procedural until she breaks out of her fugue state to once become Agatha Harkness. She strips off her clothes, and “wakes up” back in Westview, New Jersey, wearing nothing at all. There’s some conveniently placed hair over her frontside, but as she walks away from her neighbor, we see the second bare butt in MCU history (the first being in Thor: Love and Thunder).
Agatha All Along creator Jac Schaeffer told TVLine that Agatha was originally going to wear a robe after emerging nude, but Hahn came up to him and said, “Would Agatha stop to get a robe…? I feel like she would go out there naked.”
Schaeffer (who also directed the first two episodes) added that the scene “is so firmly based in character. It is not exploitative, it is not sexual… It is about this witch and what her priorities are. And in this moment, she needs answers and she doesn’t care if she’s naked or not. So yeah, it’s a point of pride for us.”
It also caught a lot of viewers off guard. “Full rear nudity. Deadpool got Disney bold,” one user on X wrote, while another noted, “If there was one thing I wasn’t expecting from the Agatha show, it was bare ass.” Here’s more:
lmaooo this is the closest Marvel has ever gotten to nudity – @relientkenny
seeing #agatha buttass naked was not on my bingo card – @folklorelle13
Wow, episodes 1 & 2 of #AgathaAllAlong was so good excited to watch episode 3 next week. Kathryn Hahn was so great. I love her so much. That naked scene can’t believe Disney showed us her – @iamjack1992
The biggest plot twist of the first two episodes of ‘Agatha All Along’ for me was Agatha’s butt shot. I sincerely did not see that coming. – @IzanaGeisler
Riot Fest is just about here, as the three-day Chicago festival is set to kick off on September 20. The lineup features NOFX, St. Vincent, Beck, Waxahatchee, Spoon, Manchester Orchestra, Fall Out Boy, Tierra Whack, and more, with plenty of other artists in between.
If you’re looking to plan your day on the festival grounds, check out out the schedule highlights below.
Riot Fest Set Times For Friday, September 20, 2024
Highlights from the first day include New Found Glory at 5 (all times p.m. and CT unless otherwise noted) on AAA Stage, Sum 41 at 6:05 on Cabaret Metro Stage, Cypress Hill at 6:20 on Rise Stage, The Offspring (playing their 1994 album Smash) at 7:10 on AAA Stage, Public Enemy at 7:25 on Radical Stage, Fall Out Boy at 8:15 on Cabaret Metro Stage, NOFX at 8:30 on NOFX World, and The Marley Brothers at 8:30 on Rise Stage.
Riot Fest Set Times For Saturday, September 21, 2024
Leading Saturday are Manchester Orchestra (playing their 2014 album Cope) at 4:25 on Cabaret Metro Stage, Spoon at 5:30 on AAA Stage, Waxahatchee at 6:15 on Radical Stage, St. Vincent at 6:35 on Cabaret Metro Stage, Pavement at 7:40 on AAA Stage, NOFX at 8:30 on NOFX World, Beck at 8:45 on Cabaret Metro Stage, and Taking Back Sunday at 9 on Rise Stage.
Riot Fest Set Times For Sunday, September 22, 2024
Acts playing the festival’s final day include Mastodon (playing their 2004 album Leviathan) at 3:50 on Cabaret Metro Stage, Tierra Whack at 5 on Rise Stage, Lamb Of God at 6 on Cabaret Metro Stage, Oliver Tree at 6:50 on Rise Stage, Rob Zombie at 7:05 on AAA Stage, Dr. Dog at 7:55 on Radical Stage, Slayer at 8:15 on Cabaret Metro Stage, NOFX at 8:30 on NOFX World, and Sublime at 9 on Rise Stage.
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