Year: 2024

Jake Gyllenhaal returned to the Saturday Night Live stage this past weekend to host the season 49 finale, but nobody really seems to care what he had to say as much as what he was wearing while he said it. Now he knows what it’s like to be a woman during fashion week.

In Gyllenhaal’s opening monologue, he made a whole stink about being the only person to accept the gig, but he decided to do so while wearing what looks like a Peter Griffin cosplay if Peter Griffin was a stylish nepo baby from Los Angeles.

The Road House actor wore a snazzy white button down paired with some olive-colored slacks, which is also the preferred uniform of the titular Family Guy himself. This was distracting for fans of the long-running animated series!

Gyllenhaal then went into an emotionally-charged cover of “End Of The Road” by Boys II Men, referencing the end of the season and the various other actors who were allegedly asked to host the finale, including Pedro Pascal and Zendaya. Neither of whom could pull off Peter Griffin quite as well as Gyllenhaal. Though Zendaya could probably do a pretty good Lois Griffin look if she tried.

On the other hand, his Fred Jones cosplay was spot on!

Sexyy Red is on a mission to #MakeAmericaSexyyAgain. The St. Louis rapper announced her new EP, In Sexyy We Trust, just ahead of the weekend, revealing its cover art and release date: May 24, the start of Memorial Day weekend.

Big Sexyy has had an eventful year so far. In February, she had her second child after appearing in Drake’s “Rich Baby Daddy” music video.

Since then, she’s appeared on the bills for a diverse array of music festivals, including The Roots Picnic, Dreamville Festival, and Hangout Festival. At the latter, she apparently hung out backstage with Lana Del Rey; the resulting video of the two dancing to Sexyy’s latest hit, “Get It Sexyy,” has been amusing fans over at X (RIP, Twitter.com).

Lana wasn’t the only surprising star that Sexyy’s been hanging out with lately. Early this month, the St. Louis native popped out to dance along with Zach Bryan during his Quittin Time Tour performance in her hometown, delighting the home of the Gateway Arch. Next up for Sexyy after dropping her new EP? She’s one of the performers billed to take the stage at New York’s Hot97 Summer Jam.

In Sexyy We Trust is out 5/24 via Open Shift/gamma.

New York City Mayor Eric Adams is aware of this weekend’s developments involving Sean “Diddy” Combs. Mayor Adams joined PIX11 News on Monday morning, May 20, and was asked about “possibility rescinding” the Key To The City bestowed upon him by Mayor Adams last September.

“I think all of us were deeply disturbed by watching that chilling video of the young lady being assaulted by him, and the committee and the team — we’ve never rescinded a key before, but we are now sitting down to see what the next steps forward are going to be,” Mayor Adams said.

Last November, Cassie Ventura filed a disturbing, lengthy lawsuit in Manhattan Federal District Court, which cited years of abuse at the hands of Diddy, her ex. Diddy settled with Cassie in less than 48 hours, but, through his attorney, Diddy maintained his innocence. Cassie’s lawsuit opened the floodgates for several more women to file similar allegations and lawsuits against Diddy. In December, Diddy released a statement claiming that all of the allegations were “people try[ing] to assassinate my character” and alleged that all of the people coming forward were “looking for a quick payday.”

That statement did not age well. On Friday, May 17, CNN exclusively hotel surveillance video from 2016 showing Diddy physically assaulting Cassie, and Diddy issued a lackluster “apology” on Sunday, May 19.

When asked to clarify whether he is, indeed, considering revoking Diddy’s Key to New York City, Adams said, “We are taking everything under analysis, and the team will come back to me with a final determination.”

Watch the PIX11 News segment below.

The NBA Conference Finals are here after a wild weekend brought an end to the second round. In the West, the Minnesota Timberwolves will play host to the Dallas Mavericks, as both teams picked up stunning comeback wins over the weekend to punch their tickets to the third round. In the East, the Boston Celtics cruised through the Cavs in five games and will host the Indiana Pacers, who put forth the greatest shooting game in NBA Playoffs history to beat the Knicks in Game 7.

After an off day for the four teams remaining on Monday, we will be getting Conference Finals basketball every day for at least the next week. The NBA released the TV schedule for both series, with Pacers-Celtics starting on Tuesday on ESPN and Mavs-Wolves beginning on Wednesday on TNT, with each series playing every other day until someone has won four games. There are no late start times this year, given there aren’t any actual West Coast teams.

As a reminder, ESPN games actually tip about 15 minutes after the listed start time, while TNT games are typically just a few minutes after.

Eastern Conference Finals

Tuesday, May 21: Pacers at Celtics (8:00 p.m. ET, ESPN/ESPN2)
Thursday, May 23: Pacers at Celtics (8:00 p.m. ET, ESPN)
Saturday, May 25: Celtics at Pacers (8:30 p.m. ET, ABC)
Monday, May 27: Celtics at Pacers (8:00 p.m. ET, ESPN/ESPN2)
Wednesday, May 29: Pacers at Celtics (8:00 p.m. ET, ESPN)
Friday, May 31: Celtics at Pacers (8:00 p.m. ET, ESPN)
Sunday, June 2: Pacers at Celtics (8:00 p.m. ET, ESPN)

Western Conference Finals

Wednesday, May 22: Mavericks at Timberwolves (8:30 p.m. ET, TNT/truTV)
Friday, May 24: Mavericks at Timberwolves (8:30 p.m. ET, TNT/truTV)
Sunday, May 26: Timberwolves at Mavericks (8:00 p.m. ET, TNT/truTV)
Tuesday, May 28: Timberwolves at Mavericks (8:30 p.m. ET, TNT/truTV)
Thursday, May 30: Mavericks at Timberwolves (8:30 p.m. ET, TNT/truTV)
Saturday, June 1: Timberwolves at Mavericks (8:30 p.m. ET, TNT/truTV)
Monday, June 3: Mavericks at Timberwolves (8:30 p.m. ET, TNT/truTV)

Nobody (except for Taylor Sheridan, presumably) knows how Kevin Costner’s dramatic Yellowstone write-off will go down onscreen. Costner recently opened up about being irked at being blamed for his departure by “those f*cking guys,” but he has mainly been focused upon reigniting his feature-film directing career beginning with Horizon: An American Saga (the first part premiered at Cannes over the weekend).

Actually, there are already two parts for Horizon that will release this year in theaters. Costner stars in these movies as well, along with Sienna Miller, Sam Worthington, Giovanni Ribisi, Jena Malone, Abbey Lee, Michael Rooker, Danny Huston, Luke Wilson, and more. And the Dances With Wolves helmer wants to make four parts — not too surprising that the guy who made Waterworld doesn’t want to go small — but he’s not entirely sure that he will even finish the third movie, at least not without more money. As Deadline notes, he’s spent much of his time in Cannes attempting to secure more funding:

“I don’t know why it’s so hard to get people to believe in the movie I wanted to make. I don’t think anybody’s else’s movie is better than mine. I made it for people. It’s a pattern that happens with me … the things I want to make are harder to make … I’m trying to make the third one. I knocked on every boat in Cannes to help me. The guys say, ‘C’mon, we’ll get a picture.’ I said. ‘No, get your checkbook out.’”

He further added, “I use to get no money to do this, then I got paid a lot of money to do this, now I need to pay my own money to do this.” In the below video clip, you can year the above remarks and Costner’s promise that he will mortgage all four of his homes if need be. He has already done so with his ranch to make the first two films and vowed “to go as far as my money takes me.”

Here’s Costner growing weepy during a Cannes standing ovation (the film premiered out of competition) that lasted at least seven minutes.

From the Horizon synopsis:

Horizon: An American Saga explores the lure of the Old West and how it was won – and lost – through the blood, sweat and tears of many. Spanning the four years of the Civil War, from 1861 to 1865, Costner’s ambitious cinematic adventure will take audiences on an emotional journey across a country at war with itself, experienced through the lens of families, friends and foes all attempting to discover what it truly means to be the United States of America.

Horizon‘s first two parts are being distributed by Warner Bros on June 28 and August 16.

Tyla won her first Grammy before releasing an album, but once her self-titled debut studio album arrived in March, Tyla proved more than worthy of any award. Uproxx’s Wongo Okon reviewed the album and called it “a declaration of the singer’s pop stardom.” The newly released video for “Jump,” a standout Tyla track with Gunna and Skillibeng, reinforces that observation.

Directed by Nabil, the video finds Tyla putting her love for Johannesburg, South Africa on display while recognizing that she has grown into a worldwide figure. “They never had a pretty girl from Joburg,” Tyla sings while Gunna drives her down the street, followed by Tyla dancing on a pool table. “See me now, and that’s what they prefer / I don’t touch no wheel ’cause I got a chauffeur / First class how I get ’round the world.”

Tyla is the center of attention throughout the video, and she can’t be bothered by two men who come crashing through her window to brawl. Eventually, Gunna serenades Tyla in the club, and Skillibeng cooly delivers his verse while Tyla literally halts traffic in order to start a twerk party in the street.

The “Jump” video follows Tyla’s videos for “Truth Or Dare” and “Water (Remix)” with Travis Scott. Tyla debuted at No. 24 on the Billboard 200 albums chart.

Watch the “Jump” video above.

While Kid Rock has a musical library featuring hits like “Bawitdaba,” “Picture,” and “All Summer Long,” in recent years, he has largely fallen out of public favor due to controversial actions and opinions. Rolling Stone got together with Rock for a new feature covering that aspect of his life and more, and it’s a lot.

For example, the piece, written by David Peisner, describes the end of a tense interaction:

“After another five or 10 minutes of this back-and-forth, he finally seems to lose steam and agrees to drive me back to my car. As he pours himself one more drink for the road, he looks me up and down.

‘Do you think you could whup the sh*t out of me?’ he asks.

I laugh. ‘Probably not.’

‘You can take a shot if you want.’

‘No, thanks. I’m good.’”

Elsewhere, Rock is quoted repeatedly using a racial slur and Peisner notes, “It’s worth mentioning these are not the only times Ritchie drops the n-word during my visit.”

The piece later concludes:

“He stops the ATV. I get out and we shake hands. Then he motions for me to come close, as if he has a secret he wants to tell me.

‘Would you do me a favor?’ he asks, practically whispering. ‘Just write the most horrific article about me. Do it. It helps me.’

I walk toward my car, and just before I get to it, he calls out one more time.

‘Will you tell everyone that I was halfway cool?’”

Read the full feature here.

The most talked-about film of the 2024 Cannes Film Festival isn’t Furiosa: A Mad Max Saga, Horizon: An American Saga, or even Francis Ford Coppola’s long-in-the-works Megalopolis. It’s The Substance.

Directed by Coralie Fargeat (blood-soaked action thriller Revenge), the body horror film is about a product called The Substance, which “generates another you,” according to the official festival synopsis. “A new, younger, more beautiful, more perfect, you. And there’s only one rule: You share time. One week for you. One week for the new you. Seven days each. A perfect balance. Easy. Right? If you respect the balance… what could possibly go wrong?”

The Substance is being praised for its subversiveness, shocking finale, and stunning lead performances from Demi Moore and Margaret Qualley, who have several full-frontal nude scenes. Following the Cannes premiere, the film received anywhere from a 9- to 11- to 13-minute standing ovation. The festival really should hire someone whose entire job is timing the ovations.

Here are the early reviews for The Substance

David Ehrlich for Indiewire:

The Substance is a non-stop, go-until-you-gag epic that builds and builds and builds until it scars everyone in the audience with a deep-seated physiological aversion to the idea that we can ever hope to escape from ourselves. Fargaet’s movie escalates with the kind of ultra-confident audacity that leaves you laughing out loud at sights that would otherwise make you shriek instead, and it simply refuses to end until even Harvey himself is sickened by how society pressures women into shaping their bodies.

Peter Bradshaw for The Guardian:

In its trashiness – and, yes, its refusal of serious substance – The Substance should really be put out on VHS cassettes and watched at home in homage to the great era of home entertainment pulp and video-store masterpieces of weirdness and crassness.

Owen Gleiberman for Variety:

The Substance does indeed play off Showgirls and the whole history of Hollywood cat-fight melodramas. The movie, in its visceral way, is deliriously ambitious (and, at 140 minutes, easily 20 minutes too long). But as it moves into the final chapter, its relatively restrained interface with body horror erupts into something cathartic in its extremity.

Beyond Fest:

Cannes just got splattered. THE SUBSTANCE is the most batshitfuckinginsane movie of the last 20 years. It is on such a freakish level that it’s impossible to believe it exists. Demi Moore goes there and @coraliefargeat has carved a contemporary horror unlike anything you’ve seen.

Damon Wise for Deadline:

Fargeat rewards your patience with a finale that channels the pathos of Lynch’s Elephant Man and the fleshy absurdity of Brian Yuzna’s 1989 squishy cult classic Society. Squeamish viewers should steer clear, but, for Cannes audiences at least, The Substance ends with the most spectacular demise since Monty Python’s Mr. Creosote ate that final, fatal wafer-thin mint in 1983.

Chase Hutchinson for The Wrap:

While not as sensational as body horror films of festivals past, namely Raw and Titane, The Substance has all the right stuff on the inside. As we see everything come spilling out, it proves to be yet another stellar genre film from Fargeat after her 2017 feature debut, Revenge. The film may not have the same style, but it is a boldly stark work, ensuring you feel every punch in your gut all the same. Be warned: it won’t be easy to stomach for all.

The Substance does not have a release date, but check out the promo below.

Angel Reese has packed a lifetime of bucket list items into six weeks. The former LSU star finished her storied collegiate basketball career, declared for the WNBA Draft in Vogue, went No. 7 overall to the Chicago Sky, attended the 2024 Met Gala, received support from Latto at her WNBA debut on May 15, and contributed to Chicago’s first win of the season on May 18. Somehow, Reese outdid herself yet again on Sunday night, May 19.

Reese posted a TikTok with Megan Thee Stallion, soundtracked by Meg’s “Girls In The Hood,” as Hot Girl Meg’s Hot Girl Summer Tour rolled through Chicago’s United Center. As relayed by Chicago Tribune reporter Julia Poe on X (formerly Twitter), Reese had stated at WNBA media day that the top celebrities she’d like to meet were Michael Jordan and Megan Thee Stallion. It took Reese less than a month to check one off the list.

As if meeting Meg and making a TikTok weren’t enough, GloRilla and Megan Thee Stallion welcomed Reese and her Chicago Sky teammates to the stage during the concert. Meg twerked on Reese, which feels like some sort of coronation, according to several fan-taken videos circulating on X.

The Hot Girl Summer Tour is due next at New York City’s Madison Square Garden on Tuesday, May 21, and here’s to hoping she makes a habit out of bringing out WNBA teams at her remaining shows.

See some of the clips and Reese’s posts below.

Diddy has come under fire lately, but especially in recent days, after a video of him assaulting Cassie surfaced. He has since shared an apology video, and while Cassie herself has yet to publicly respond, he lawyer has.

In a statement shared with Deadline, Meredith Firetog — a partner at Wigdor LLP, who represented Cassie in her Diddy settlement — said:

“Combs’ most recent statement is more about himself than the many people he has hurt. When Cassie and multiple other women came forward, he denied everything and suggested that his victims were looking for a payday. That he was only compelled to ‘apologize’ once his repeated denials were proven false shows his pathetic desperation, and no one will be swayed by his disingenuous words.”

In Diddy’s video, he said, “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now. I went and I sought out professional help. I got into going to therapy, going to rehab. I had to ask God for his mercy and grace. I’m so sorry. But I’m committed to be a better man each and every day. I’m not asking for forgiveness. I’m truly sorry.”