Year: 2024

(Spoilers from Prime Video/Amazon’s The Boys will obviously appear below.)

The Boys‘ fourth season began with the show’s customary depravity cranked up to eleven. Since there shall only be five total seasons of the show, they might as well stuff that grossness onscreen while they can, and of course, no character on the show is immune to being humbled by seeing something that will leave them wanting some eyeball bleach.

Such was the case when the blood-bending head popper, Victoria Neuman, opened a text from Billy Butcher. She was anticipating some valuable information, but Butcher had another plan. He apparently decided that Neuman should stick her agenda where the sun don’t shine. So he showed her exactly where, you know, the sun will never shine.

The glare of a flashbulb, however? Yes, that went right into the image of — and there’s no graceful way to say this — a sphincter. Naturally, Neuman recoiled at this sight, and viewers immediately wanted to know whether Karl Urban had actually photographed his sphincter.

Logically, everyone must have realized that this was not a photo of Karl Urban or even Billy Butcher, but as showrunner Eric Kripke revealed, the question kept coming his way, so he had an answer. Yes, people are weird:

“Because hundreds of you asked: the butthole from #TheBoys Season 4, Ep 1 is NOT Butcher’s (or Karl’s),” Kripke found himself typing. “We hired a model (I don’t know his name). I chose the pic, based on about 20 different butthole shots. Yep, Hollywood is a glamorous dream factory.”

There you have it. You probably do not want a donut now, but join the club.

Ariana Grande has one of the most distinctive voices in popular music, and that’s true both when she’s singing and just talking. Some have noticed, though, that over the years, Grande’s natural speaking voice appears to have changed. That conversation has now been revitalized thanks to a new interview.

Grande was recently a guest on Penn Badgley’s Podcrushed podcast and one clip from the chat is making the rounds on X (formerly Twitter). In the clip, Grande laughingly makes a comment about something that was said previously, and her voice sounds lower than it typically does. When she moves on to a different topic, though, her voice returns to the higher-sounding version she usually speaks in nowadays.

Social media has been full of reactions. One X user wrote, “i lowkey hate Ariana’s new voice i miss the way she use to speak her new voice is just so forced to me.” The user who originally shared the Podcrushed clip added in another tweet, “i seen a couple people call it weird. yall acting like y’all’s voices don’t change in certain spaces and settings. her interview voice is no different, especially cause singers use to to preserve their vocals. don’t bring no dumb sh!t over here.”

Another X user backed up that vocal preservation claim by sharing an old video of Grande explaining this herself. In the clip, Grande’s voice sounds like the higher version she most frequently uses today. Grande says in the video, “I’m speaking in a slightly higher placement than I usually speak in, because I’ve been doing a lot of interviews all day and I’m trying to keep my voice healthy.”

First things first: R&B is not dead. It’s a necessary reminder that’s just as annoying to repeat as it is to hear from the occasional critic of the genre. I mean, when you look at what the genre has delivered in 2024, it’s hard to deny its life. In the first six months of the year, fans saw the return of veteran artists who went years without releasing a full body of work. Bryson Tiller re-emerged with his self-titled fourth album, his best body of work since his 2015 debut. PARTYNEXTDOOR brought back the classic feeling of his mid-2010s music with his own fourth album PARTYNEXTDOOR 4. Finally, after nearly a decade without a project, Anderson .Paak and Knxwledge’s NxWorries finally delivered a new album with Why Lawd? and lawd did they deliver.

On the flip side, there were plenty of newcomers who expanded their fan base with well-crafted debuts and sophomore albums. Normani’s long-awaited debut album Dopamine met all expectations as did Tems’ debut Born In The Wild. Sinéad Harnett, Fana Hues, and Loony were nothing short of captivating and with their outputs and then there’s DJ and producer ESTA. who constructed one of the best compilation of R&B artists we’ve seen over the last few years.

There’s so much to love from R&B so far in 2024, so let’s get into it. Here are the 15 best R&B albums of 2024 so far:

Bryson Tiller — Bryson Tiller

Bryson Tiller told Complex that his self-titled album would “probably be my last one for a minute.” Enduring another Tiller hiatus? Bummer. But Bryson Tiller‘s entrancing 19 songs eased the melancholy — reinforcing Tiller as a reliable rap/R&B reservoir. “Whatever She Wants” led the charge — peaking at No. 5 and No. 19 on Billboard‘s Hot Rap Songs and Hot 100, respectively. Save for excellent Clara La San (“Random Access Memory [RAM]”) and Victoria Monét (“Persuasion”) features, Tiller allows fans precious alone time with his perspective. “Hope you don’t get bored with me over time,” he sings on the ballad “Undertow.” We won’t. — Megan Armstrong

Charlotte Day Wilson — Cyan Blue

The realm of alternative R&B is a playground that Charlotte Day Wilson makes an alluring experience. The soft-voiced Toronto singer woos the ear with seranades sweet enough to bring peace to the mind and body. Her second album Cyan Blue is no different, but it does mark a new chapter for Wilson. The pressures to create a perfect body of work withered away before Cyan Blue and out came a 13-track captivating experience. She waxes poetic about leveling up in love “My Way” and triumphs over her detractors on “Canopy” which is as slick as we’ve heard Wilson. With Cyan Blue, Charlotte Day Wilson breaks free from her own limitations and that of others for an album that is truly free in all the best ways.

ESTA. — Francis

For years, producer ESTA. stood behind the boards to help craft some of the better offerings in contemporary R&B. Still, his true vision with the genre had to be put on display until the release of his debut album Francis. Through just ten songs, ESTA. explores the field and widens the boundaries with help from artists who established their chemistry with ESTA. years prior. A funky tunes get kicked into high gear on the DUCKWRTH and Joyce Wrice-assisted “Too Fast.” Kenyon Dixon and Mack Keane excellently capture the emotions and thoughts behind a relationship that’s falling apart on “Outta Space” while Arin Ray captures the initial moments of a magnetizing love on “Controllin.” On each song, ESTA. proves that he’s a master of the soundscape, and by selecting the most talented artist for the moment at hand, Francis strikes as one of the best crafted R&B albums of the year.

Fana Hues — MOTH

Fana Hues arrived to sir the soul and blow the mind away with her third album Moth. Through 13 songs, Hues emerges as both electric and gracious, ferocious and pristine, in what amounts to a truly otherworldly experience from the Pasadena singer. Look no further than the sassy “Rental” which explodes into a summertime bop wrapped in the confident struts of a singer ready to take on the world. “Sweetlike” opts for a sultry and playful breakdown of two lovers’ dynamic while “What Speaks” unwinds and oozes into a plea for Hues to enter the mind of her partner. Moth is unlike any other R&B project released this year, making for yet another standout moment by the incomparable by Hues.

Jordan Mackampa — Welcome Home, Kid!

Four years after his debut album, British-Congolese singer Jordan Mackampa determined that it was time to reintroduce himself to new and old fans. Welcome Home, Kid! brought an unapologetically soulful artist to centerstage with the ability to uplift the mind and boost the heart with just one verse. “Proud Of You” keeps you light on your feet with a giddy dance and “Step By Step” takes you to church with glorious trumpets, lively drums, and the energy that only a family cookout can provide. Welcome Home, Kid! celebrates the moment that things start to make a little more sense. Jordan Mackampa’s second coming as an artist is also the rediscovery of his purpose, something incredibly evident on his sophomore album.

Loony — Loony

The first thing that will probably catch your attention about Toronto singer Loony is her silky smooth vocals that always make it a joy to indulge in her music. Her self-titled debut album employs these vocals for a riveting tale of rising out of the perils of failed love and persevering onto the next thing. Loony thrives with deeply honest and self-aware moments like “Too Attached” where Loony admits her inability to exit an inadequate relationship in a timely manner. On the flip side, “A Good Night” wastes no time throwing it all away and disregard the wishes of her partner. Among that, there are still bright moments. “First Thing Smokin’” sweetly sings of an unconditional love while “Tiger Eye” prioritizes the fun of today and disregards the worries of tomorrow. Loony is as fun as it is honest, making for an enjoyable experience we can all relate to.

Normani — Dopamine

There were times where it seemed like it would never come, but Normani made 2024 the year to finally release her long-awaited debut album Dopamine. Through 13 songs, Normani makes her debut worth the wait by inducing the same euphoria in her listeners as her album title is known to produce. “Big Boy” with Starrah commands the room with impenetrable confidence as Normani brags about her accolades and Houston roots. “Insomnia,” one of Normani’s best songs, finds her suffocated and restless over heartache. “Take My Time” flashes her versatility with a high-energy dance record while “Tantrums” opts for a dark and gloomy set up. With Dopamine, Normani is free; free to showcase her artistry in its truest and best form, true to live up to and past the artistic standards before, and free to say “I told you so” with a debut that stamped the promising career that awaits her.

NxWorries — Why Lawd?

It took them nearly eight years to get it done, but Anderson .Paak and Knxwledge’s NxWorries finally released their sophomore album Why Lawd?. Where their 2016 debut Yes Lawd! was a celebratory affair dressed in the funky beats and the high spirits of .Paak, Why Lawd? is born out of turmoil and heartbreak. .Paak weathers the storm of lost love with his emotions on his sleeve, remaining brave and confident despite a tear streak down the eye. “FromHere” contemplates the next move follow love’s sudden absence and “Where I Go” acknowledges the ups and downs present in a relationship. “MoveOn” struggles to adjust to change while the brief “DistantSpace” hopes for a final chance despite romance’s departure. Why Lawd? presents that very question in the aftermath of heartbreak, and though it never receives a proper answer, the exploration of it makes for another impressive album from NxWorries.

PARTYNEXTDOOR — PARTYNEXTDOOR 4

The PartyNextDoor of old — that is, the one from the mid-2010s — re-emerged thanks to his fourth album, PartyNextDoor 4. The signs for a return to classic days were there thanks to singles like the scornful “Her Old Friends” and the praising “Real Woman.” With PartyNextDoor 4, though the feel is reminiscent of the past, we’re presented with a story of the singer who wants to grow from the man behind the mic on past projects. Genuine strides for authentic love are made on PND’s fourth album, more so than we heard on past bodies of work. Though he slips into a shell of his past on a couple of occasions, the desire and effort to be better makes PartyNextDoor 4 an excellent listen, especially when it houses one of PND’s best-composed songs to date with “No Chill.” — W.O.

Serpentwithfeet — Grip

With his third album Grip, Serpentwithfeet enters a new era in his career. The ten songs on the album find the Baltimore singer in touch with the more personal sides of his life as the album explores intimacy in romance, whether that be the touch of the hand around in the waist of your partner during a night out at the club as depicted on “Damn Gloves” or the accidental discovery of deep love following the “sixth night of a one-night stand” as Serpent sings on “Deep End.” Grip, just like Serpent did, finds its home in the flashing lights of Black queer nightlife and celebrates the communities within it that made Serpent comfortable enough to express himself. The sensitivity and the attention to detail are among the ingredients that make Grip a captivating listen.

Shaé Universe — Love’s Letter

Nigerian-British singer Shaé Universe’s second project Love’s Letter is a nostalgic trip to the past meshed with modern influences from today’s R&B world. Inspiration from the likes of India.Arie, Brandy, and Lauryn Hill are hard to ignore through the project’s ten songs, but Shaé makes them her own for a body of work that could indeed stand the test of time. Love’s Letter ponders what it would be like for love to deliver a letter for each phase of your life, and what amounts from it are moments of true love, self-love, and the absence of love. “More Than Enough” is a moving reminder that no love is better than self-love while “LOML” finds Shaé whisked off her feet thanks to the presence of a love like no other. Love’s Letter is one for old-school and new-school R&B fans from an artist certain to be here for a while.

Sinéad Harnett — Boundaries

Through a bit of therapy, healing, and reflection came the creation of Sinéad Harnett’s third album Boundaries. The 16-track affair present Harnett at her strongest and most aware as her newfound peace require the utmost protection, which brings to the Boundaries present for Harnett in her life and on this album. “Thinking Less” is both a reflection of heartbreak and a declaration to never accept the bare minimum or less when it comes to love. While “The Most” disposes of an inconsistent love, “Unfamiliar” makes use of Harnett’s newfound wisdom in romance to steer away from a potential relationship riddled with red flags. Boundaries is what the other side of heartbreak is supposed to look like and Sinéad Harnett emerges from it a new woman ready for a new story where she stands stronger than ever.

SiR — Heavy

Birthed from a time he calls the “worst year of my life,” SiR’s fourth album Heavy unpacks all the highs and lows of a journey that saw him nearly reach a point of no return in his life. The album’s title track recounts the days where addiction ruled his life. The persistent “I’m Not Perfect” admits to internal flaws while also putting forth the fight to not those flaws control their every move. While Heavy depicts the dark days of SiR’s life, it also captures the brighter days and improvement that found its way to the singer after his period of struggle. The optimistic “Life Is Good,” the self-sufficient “Poetry In Motion,” and the determined “Tryin’ My Hardest” are all evidence of this. In the end, SiR’s Heavy is an emotional, raw, and honest account of picking yourself up at your lowest and getting your life together before it’s too late.

Tems — Born In The Wild

Three years after her breakout into the mainstream world, Tems’ debut album Born In The Wild arrived as a refreshing tale of how the singer emerged from her shell to become a star. It’s more than a rags-to-riches story. At its conclusion, Born In The Wild is a delightful testimony for the fruits one could bare through faith. Born In The Wild is a balanced affair that captures Tems in as many reflective moments (“Born In The Wild” & “Burning”) as there are joyous and carefree ones (“Wickedest” & “Get It Right”). Furthermore, tales of love like “Unfortunate,” “Forever,” and “Free Fall” are thrown into the pot to make Born In The Wild a complete, excellently crafted debut.

Usher — Coming Home

For the last 18 months, Usher thrusted himself into the spotlight to remind music lovers of his legacy. From his eventful and sometimes controversy-producing Las Vegas residency to his 2024 Super Bowl Halftime Show, Usher was nothing but a showman looking to entertain and impress the audience. Much of that is the same on Usher’s ninth album Coming Home, which, true to its title, is a return to form for the Atlanta native. Coming Home combines the best of Usher’s sonic landscapes with elements of traditional and contemporary R&B, upbeat pop, and flashy dance records. Coming Home is arguably Usher’s best output in a decade, but at the very least, it proves why he’s been able to thrive in the music industry.

Scooter Braun has been surrounded by question marks for almost a year. Last August, reports surfaced that Ariana Grande and Demi Lovato left Braun and his company, SB Projects, to seek other management. There were never definitive reports about whether Justin Bieber also parted ways with Braun, but that didn’t stop persistent rumors, so it was sort of assumed.

As of Monday morning, June 17, Braun is definitively no longer managing any artists, and he explained why.

Why Is Scooter Braun Retiring From Artist Management In Music?

Braun posted a very lengthy statement across several slides on an Instagram carousel, which laid out his 23-year journey as a music manager and confirmed, “This chapter as a music manager has come to an end.” Braun explained that he has been “heading towards this destination” of focusing on his role as a HYBE board member and CEO of HYBE America, stating that his updated priority list is “a father first, a CEO second, and a manager no more.”

Read Braun’s full statement below.

“23 years. That’s how long I have been a music manager. 23 years ago a 19-year-old kid started managing an artist named Cato in Atlanta, GA and my journey began. Along the way I have had so many experiences I could never have dreamt of. I have been blessed to have had a ‘Forrest Gump’-like life while witnessing and taking part in the journeys of some of the most extraordinarily talented people the world has ever seen. I’m constantly pinching myself and asking ‘how did I get here?’ And after 23 years this chapter as a must manager has come to an end.

It’s a strange feeling because I think I have wanted this for a while, but I was truly afraid to answer the question ‘who would I be without them?’ I was really just 19 years old when I started. So for my entire adult life I played the role of an artist manager on call 24 hours a day, 7 days a week. And for 20 years I loved it. It’s all I had known. But as my children got older, and my personal life took some hits, I came to the realization that my kids were 3 superstars I wasn’t willing to lose. The sacrifices I was once willing to make I could no longer justify. It was time to step into a new role.

In this next chapter I have been honored to join as a board member of HYBE and serve as the CEO of HYBE America. My brilliant partner these past 3 years, Chairman Bang, has a vision I truly believe in. But even beyond that he has become a true friend who understands where I must be in my life these days. And that is a father first, a CEO second, and a manager no more.

Over the past 2 years I have been heading towards this destination, but it wasn’t until last summer that this new chapter became a reality. One of my biggest clients and friends told me that they wanted to spread their wings and go in a new direction. We had been through so much together over the last decade, but instead of being hurt I saw it as a sign. You see, life doesn’t hand you YOUR plan, it hands you GOD’s plan. And God has been pushing me in this direction for some time. I have nothing but love for those I have worked with over the years, and as we develop a different working relationship, I will always be in their corner to consult and support them whether it be directly or from afar. Every client I have had the privilege of working with has changed my life, and I know many of them are just beginning to see the success they deserve. I will cheer for every single one of them.

I have gotten to see my friend Andrew Watt win the Grammy for Producer Of The Year. I have laughed and cried as Lil Dicky truly became DAVE. I have witnessed an angel of a human Tori Kelly win Grammys and star in films. I have seen J Balvin live out his dreams of breaking boundaries, and Demi show kindness and grace that few megastars have. I have been moved as Zac Brown Band raised our flag and delivered the hits. I was excited the first time I heard Animals with Martin Garrix, and learned a new world with David Guetta and Steve Angello. I have danced to Carly Rae Jepsen’s ‘Call Me Maybe’ and smiled ear to ear as PSY brought us ‘Gangnam Style.’ I have watched Quavo grow to be an entrepreneur, and served as Kanye’s ‘gateway drug to business’ as we had amazing years of success when I was once able to call him my friend. I have marched with YG and flown to Australia with [The Kid] Laroi to see the hometown kid rock an arena. I have seen Dan + Shay go from local Nashville writers to sold out headliners and award winners. The list of artists goes on and on over 23 years. So many stories it would take me forever to name. From those first years with Asher Roth to watching my partner and brother Usher dominate the Super Bowl this year, it is truly overwhelming.

But it was this past Christmas Day when Ariana and Justin became the biggest male and female in the history of the Spotify Billions club that I just smiled and thought ‘what a ride.’ Justin and Ariana were both young teenagers when I began with them. Justin a 13-year-old kid busking in Canada and Ariana a young actress on Nickelodeon. To see them both come up to be the legends they are today will forever be one of my greatest honors. As we change our working relationships now, I will continue to root for them with the same passion that I did at each of their humble beginnings. I remember the pranks and the water park shows with Justin, and the first time Ari opened an arena tour and her excitement side stage. I remember as they both stepped up for others and I got to witness them each change the world and make history. There will never be a day where I don’t take great pride and honor in what we accomplished together. The same can be said for so many I have had the pleasure of once being called ‘manager.’

There has been a lot said about what is happening in our company… and in my career. When we had success I smiled, and when we were attacked I tried to always take the high road. But for the last 3 years I have begun to feel that taking the high road has created confusion and ambiguity as to who we are. I may have left my role in management, and my business relationship with many clients will alter and change, but this does not mean we as a company are leaving. Both Allison Kaye and Jennifer McDaniels are more than capable to lead and as we combine new resources the opportunities with their leadership are endless. These two incredibly powerful women will now step into a role that I know will grow into the most impressive women-led management business our industry has even seen. While my name may have been on the door all these years, the truth is there is no one as brilliant as Allison Kaye, and few who can manage with the grace and poise of Jen McDaniels.

We at HYBE will continue to grow. With the addition of QC to HYBE America and our existing business at Big Machine, we will continue to add amazing execs and artists to the roster. Our WeVerse platform and growing gaming unit is something the whole industry can celebrate and join. Getting the opportunity to A&R and Executive Produce the solo career of Jung Kook last summer, and work with the other members of BTS as we break worldwide records, has been an absolute honor. With new acts like NewJeans, TXT, LE SSERAFIM, Seventeen, ILLIT, The Scarlet Opera, Ava Max, and many other new artists and ventures, the future is bright. I’m honored to join Chairman Bang and Jiwon Park as we grow HYBE from the multi-billion dollar publicly traded company it is today to the worldwide multifaceted entertainment platform it is destined to be.
With HYBE going strong I am also looking forward to continuing to invest in a new generation of entrepreneurs and serve as a national board member of Make A Wish and help individuals and communities through our family’s Braun Foundation. Between all of this and coaching my kids I’m not worried about being busy 🙂

So yes, it’s been 23 years. And yes, this chapter has come to an end. But the great Berry Gordy once told me, ‘Young man, it never ends the way you wanted, but it doesn’t mean it didn’t happen.’ That wisdom has proven to be correct. I never saw how this chapter would end, hell, I never even saw it happening. But it did. And I will cherish every moment of it. I made my plan… but it turns out I like God’s plan better. Cheers!”

As the old saying goes, “The journey of a thousand miles begins with a single step.” It’s a cliché, yes, but it’s relevant, since that first step and the ones following it are so key. Where they took place is also crucial, whether its a childhood home, school, or anywhere else that seeds for the future were planted. That’s the focus of the latest episode of “The Street I Grew Up On,” presented by State Farm.

Mari Maupin, a product of Los Angeles, already has some stories to tell, including a significant opportunity that would make any artist green (or more appropriately, purple) with envy: touring with Prince. The way her eyes light up when she recounts that impactful period makes it clear how moving it was for Maupin (as does the Prince tattoo on her forearm). Who wouldn’t glow when reminiscing about brushing shoulders with a timeless icon?

Elsewhere in the episode, Maupin hits up her old school, looking back on how her teachers and experience fostered her creativity. Being back in the place where so many formative experiences happened, Maupin was understandably emotional.

Beyond that, Maupin also visits a longtime favorite restaurant and other meaningful places on her journey, so check out the new episode of “The Street I Grew Up On” above.

When it comes to iconic TV scenes, some things simply cannot be recreated. When you begin to expect twists, turns or even a full-on war, it becomes less surprising and more expected. Everyone knew that House of the Dragon would have dragons and war, of course, but that doesn’t mean that it has to mimic everything that its predecessor, Game of Thrones did. Still, fans are using the flagship series as a reference point, and it has sparked a debate over which is worse: slaughtering a bunch of humans or kicking a dog on your way to slaughter one human. It’s a conundrum for the ages.

Season two of House of the Dragon premiered this week, and people are already itching to compare the two assassins Blood and Cheese to the infamous Red Wedding from season three of Game of Thrones. As if we should really be pitting two bloody slaughters against each other!

In the premiere, Daemon sends the aptly named gentlemen Blood and Cheese to kill Aemond, only the guys proceed to make Helaena point out her son Jaehaerys, who is then beheaded off-camera. What more can you expect from a man named Cheese? In the books, Helaena has three children, making her choice even darker, and her decision plagues her. On-screen, she does what she can to protect her daughter Jaehaera in a moment of distress.

It makes sense that this scene was watered down a bit for screen, but some fans think that it wasn’t gruesome enough compared to the text, which was apparently being teased as a “Red Wedding” moment.

Of the scene, Phia Saban told Deadline that she tried not to let the scene get to her head. “First instinct was like, ‘oh no, I have to do that in episode one’” she told Deadline. “I think what was really important to me was to really try not to overthink the gravitas of the moment and be like ‘what does this mean for the show, what does this mean in the universe’ I tried to just clap my brain in a way that I could just react to hosw shocking and unomfortable that moment is. It’s a huge shock, and she has to do a super human thing this is make a decision and acts as a mother in the worse circumstances,” she said.

Good thing the Red Wedding scene will always be there streaming on Max (Season 3, Episode 9) when you need it. For now, let Helaena unpack her own trauma and embroider in peace!

The first new (and third, technically) The Walking Dead spinoff, Dead City, breathed street-smart new life into an admittedly ailing franchise. Then Daryl Dixon came from behind to sweep the franchise away into enchanting new territory. That particular spin off is scheduled to return this year, but Dead City‘s second chapter will not be too far behind.

Let’s refresh on what happened at the end of Maggie and Negan’s previous time in Manhattan and discuss what’s to come in the AMC series.

Plot

As viewers will recall, the first Dead City season included Maggie roping Negan into rescuing the kidnapped Hershel (son to Maggie and Glenn). And Negan essentially had no choice but to try and make things right. Sure, the foes had ended The Walking Dead in a semi-truce, but Maggie was not amused when the perpetrator who nabbed Hershel was the Croat, whose tell-tale whistle revealed him to be a member of Negan’s old Saviors crew. Once inside Manhattan, Negan and Maggie dodged urban-jungle hordes, including a particularly nasty variant, and a cockroach attack. Then Maggie ended up turning Negan over to the Croat and leaving with Glenn, yet the happy mom-son reunion didn’t go as planned.

Hershel called out his mom for being obsessed with vengeance against Negan to a fault. Of course, it’s hard to blame Maggie for feeling that way, since long-running PTSD isn’t exactly unexpected after seeing someone they care about (let alone their husband) get their brains bashed in with a baseball bat, but Hershel stood firm, and then Maggie made this final utterance of the season: “This thing with Negan… I’m gonna finish it. So I can just let it go.”

What was she declaring, really? Maggie had prefaced the line with how “[f]or most of my life, I felt like the world kept taking and kept taking, and I think at some point I thought that if I could just fight hard enough, I’d be able to get it back, a little piece of it at least.” Then she admitted that the vengeance means that “you just end up losing what you got. And I don’t want to keep doing that anymore.”

When quizzed by Entertainment Weekly on what this means, exactly (will Maggie rescue Negan or kill him?), Lauren Cohan stayed cryptic:

“I am hesitant to say … I know what it means, and I don’t want people to be directed because I have heard so many different perceptions of that moment. And I love seeing how differently people take it. So I certainly know what it is, and it makes me more excited to do a second season. It makes me really interested to put all that down on paper and on film, because the best part of this character yet is this place that she can go now. And it was not what I ever imagined.”

Jeffrey Dean Morgan also spoke with EW, and he believes that even though The Dama wants to recruit him and appears to be treating him well, “I think he thinks he’s f*cked.” Now, we can wonder how f*cked Negan is and whether Maggie will help him or just return to put Negan out of his (and her) misery.

Cast

Lauren Cohan and Jeffrey Dean Morgan will clearly return as Maggie and Negan. Kim Coates of Sons of Anarchy fame has joined the second-season cast, which includes Gaius Charles, Mahina Napoleon, Trey Santiago-Hudson, Charlie Solis, Željko Ivanek, and Jonathan Higginbotham.

Zero crossover action has been confirmed for this season, but presumably, Daryl and Carol are completely out of the question. There’s also no reason for Rick Grimes or Michonne to be dumb enough to head into Manhattan, and we don’t even know whether more of The Ones Who Live is in the cards. So don’t expect to see any new original cast members this season unless a massive surprise or a change of venue happens. Still, it’s worth remembering that the three new spin offs do exist in “the same timeline.”

Release Date

With Daryl Dixon returning on September 29 for its second season, we can bet on early 2025 for Dead City‘s second chapter.

Trailer

Hang tight! AMC might not reveal a full trailer until Daryl Dixon: The Book Of Carol returns, so they can do so during a live episode broadcast. For now, we will have to make do with watching these cockroaches again.

When it comes to reboots, sequels and all of that other fun stuff, there is always a chance that you will get a cameo from the original actors somewhere in there. With Marvel, people from other movies show up all the time (for better or worse) while other reboots feature a knowing nod to the original. But for the upcoming Blade reboot, it doesn’t look like we’ll get any of that. Who even knows it the movie will happen at all at this point.

Wesley Snipes, who played the human/vampire hybrid Blade in the 1998 Marvel film Blade, doesn’t seem too enthused about the upcoming reboot that’s been in limbo for almost five years. The movie has had its fair share of production bumps over the years, and most recently, the film’s director Yann Demange exited the film. He was the second director to leave the project.

Snipes took to social media to make a slight jab at Marvel for the long delays. “Blade, lordylordylordy,” he posted on X. “Folks still lookin for the secret sauce, ridin snowmobiles in traffic, kinda rough.” He said, adding #Marvel. The folks at Marvel have yet to comment on Snipes’ snark.

In 2014, Snipes said he was open to returning as Blade, but after long delays and Marvel’s restructuring, it doesn’t seem like he wants in anymore. When Mahershala Ali was announced to take over the role, Snipes was supportive. For now, the reboot is set for a November 2025 release with Ali and Mia Goth attached to star. But Snipes (agrees that he) will always be Blade.

(Via Variety)

Charles Barkley announced his intention to retire from broadcasting at the end of the 2024-25 NBA season on Friday night following Game 4 of the NBA Finals. Barkley, the Naismith Memorial Basketball Hall of Fame inductee as a player whose second act has seen him become arguably the most well-known pundit in sports history, said that regardless of what happens with the next NBA media rights deal, he plans on calling it a career.

“I talked to all the other networks, but I ain’t going nowhere other than TNT,” Barkley said. “But, I have made the decision myself, no matter what happens, next year is going to be my last year on television. And I just want to say thank you to my NBA family, you guys been great to me, my heart is full with joy and gratitude. But, I’m gonna pass the baton at the end of next year”

Saying that there will be a void left by Barkley’s departure — assuming that he does, indeed, hang up his headset after what will assuredly be a year of other networks putting on the full-court press to get him to change his mind — is a gigantic understatement. Barkley was a spectacular basketball player, but several generations of basketball fans know him primarily as the guy who sits all the way to the right on TNT’s NBA studio desk — following his retirement at the end of the 1999-2000 season, Barkley joined Inside the NBA and has spent the last 24 years with Turner.

Because we live in a society where the next thing is always the most important one, there’s one question that comes to mind: Whether it’s Turner or, more likely, one of the networks (Amazon, ESPN, NBC) that are going to get broadcast rights in the next television deal, who is going to fill the void left by Charles Barkley?

The answer, pretty simply, is no one. As Barkley mentioned in his announcement, he had conversations with the other networks about bringing him on board as a contributor once the new TV deal goes into effect at the start of the 2025-26 season. That’s because everyone understands the value of having him on the air — few people on television, let alone on sports television, are as charismatic as Barkley. You can find someone better at breaking down the finer points of the game — Barkley isn’t going to do a detailed breakdown of the Blazers coverage against a Spain pick-and-roll set or something — but Barkley just inherently knows how to make good TV. There is no forced effort, no switch he has to flip once he arrives at Studio J to shine. Instead, he simply makes TV magic by being The Chuckster at all times, and never compromising on that in any way.

That’s ultimately what makes trying to replace him impossible. Barkley is not someone who goes out there and tries to be good on TV, he just … is. The Charles Barkley that you see on TNT is the Charles Barkley you get in interviews (just with less cursing), and I would guess is the Charles Barkley you get if you run into him at a Home Depot or something. There is an effortlessness to his ability to get on a set, grab a microphone, and say things that people enjoy, which stems from the fact that he doesn’t seem to care that there’s a camera on him.

Take, for example, when he showed up on ESPN’s set during the Stanley Cup Final between the Florida Panthers and the Edmonton Oilers last week. The whole thing worked because you can put Barkley on any TV show and he’ll have it bend to his will, not because he’s forcing any action, but because he is a one-of-a-kind magnetic personality and when he’s on the air, you let the show go in whatever direction you want. It’s the reason why an NBA player can go on an NHL studio show and it’s still fun to watch, or Saturday Night Live can do an Inside the NBA sketch and everyone, regardless of whether they’re a basketball fan, can find it hilarious.

There will presumably be efforts to try and replicate what Barkley brings to television to one extent or another. If Turner is able to keep an NBA package and Inside the NBA goes away, the thought for years has been that Draymond Green would slide into Barkley’s seat on the desk (even if that’s not quite right), while Vince Carter, Jamal Crawford, and Candace Parker are all very good on television and have experience on studio shows. Should TNT fail to land a piece of the pie, NBC, Amazon and ESPN, which has frequently drawn the ire of basketball fans for its inability to put together a compelling NBA studio show despite multiple tries, should all make overtures to those four names. However, none of them stand much of a chance if they are tasked with being the next Chuck.

The important thing is that whether it’s any of those individuals or someone else who is in the ex-player media sphere and gets identified as a name to watch — this is where I suggest ESPN going in the complete opposite direction from what it has always done and giving Jeff Teague free rein to do literally anything he wants — they never get saddled with the expectation of being Barkley’s successor in any way. Even if, as my colleague Robby Kalland theorized, Amazon or NBC agrees to a deal that lets them rent out the Inside studio from Turner and broadcast the show with Ernie Johnson, Shaquille O’Neal, Kenny Smith, and another person, Barkley’s departure is going to make it feel different. Saddling that fourth person, or anyone who gets tagged as his spiritual successor on any network, with the expectation of being his replacement is setting them up to fail from the very beginning. That’s because even if they grow into being an exceptional television analyst, they will not be Chuck.

Bringing in new voices and new perspective is going to be a very valuable thing for the basketball media space, and in a way, Barkley announcing he’s calling it a career is a good thing. He’ll be missed dearly, but throwing him on a studio show that isn’t Inside the NBA with people who are not Ernie, Kenny, and Shaq would have felt a bit wrong. But when we get to 2025 and television networks roll out their studio crews for the upcoming NBA season, it’s of the utmost importance that the individuals on the various shows are asked to be themselves and never try to be anyone else, especially Chuck. That’s what made Charles Barkley an institution on American television for a quarter of a century, and it’s why we’ll never see anyone quite like him again.

(House of the Dragon spoilers will be found below.)

This week’s second-season debut of HBO’s Game of Thrones prequel included multiple profound and horrifying scenes, but of course, what’s receiving plenty of attention is a rather banal affair. Literally!

Less than halfway through the “A Son For A Son” episode, viewers received the sight of Alicent and Ser Criston Cole engaged in a tryst. Despite Alicent then telling Criston that they must not do that again, well, they kept doing it. In fact, Alicent and the Lord Commander of the Kingsguard were shagging away when Blood and Cheese attacked Queen Helaena Targaryen and hacked off Prince Jaehaerys’ head.

Arguably, the “failed” Blood and Cheese plot (Daemon had directed the pair to take out Aemond as vengeance for the death of Lucerys) could have failed harder, had Ser Criston been doing his job instead of doing the nasty. Beyond that hypothetical, there’s the real question of how long Alicent and Criston have been carrying on like this. King Viserys has been dead around 10 days, so this seems fast, but Olivia Cooke kind-of hinted (during first-season promotion) that there were “simmering undertones of something” and that Criston is “a virile man.”

Showrunner Ryan Condal has now spoken on the “timing” issue. In an interview with Collider, Condal specified that this is “a brand-new relationship.” Hmm:

“It feels very awkward there. They’re literally talking about the weather. So, that’s the thing, it’s a brand-new relationship. We don’t specifically get into, intentionally, when and where it started. Part of that is the fun of leaving it up to interpretation by the viewing audience. But it’s certainly a new thing, a new romance. And the idea is that these two characters have this very stunted emotional development, particularly in the world of intimacy with a partner. Cole, because he’s been a canned man his entire life in the order of the Kingsguard and his past sins with Rhaenyra and wearing that like a millstone around his neck.”

Now the question remains: when will the rest of King’s Landing find out about the affair? Helaena probably won’t be talking (she has enough to process, my god), but Alicent and Criston can only keep this mess secret for so long.

HBO’s House of the Dragon airs on Sundays at 9:00pm EST.

(Via Collider)