Category: News

Jade proved she should be your next pop star obsession with “Angel Of My Dreams.” But if you’re somehow still not convinced, the former Little Mix member has released a new banger: “FUFN (F*ck You For Now).”

Jade described the electro-pop ballad, which was co-written by Raye and comes with a fake TMZ-style headline, as an “all guns blazing, going for it pop song.” The idea came from “having a dream about my boyfriend cheating on me and waking up the next day fuming,” she said on Capital Breakfast. “So that’s how it kind of began and then me and Raye brainstormed about how to make it more about a big argument you have [when] you know it’s not the end but you really want to let them have it in that moment.”

She lets him have it: “I don’t want your angry text / I don’t want your sorry sex / I just want you out my f*ckin’ face.”

Earlier this month, Jade won Best Pop Act at the 2025 Brit Awards (she also performed “Angel Of My Dreams”). In her acceptance speech, she thanked her “Little Mix sisters,” adding, “I love you so much, I wouldn’t have this award without them, they changed my life so much.”

The video is age-restricted, so watch it here.

Be careful where you step because new Lil Nas X singles are everywhere. In a matter of days, the Grammy Award-winning musician has graced supporters with five new singles: “Dreamboy,” “Hotbox,” “Big Dummy,” and “Swish,” and “Right There!”

Yet, in the wee hours of the morning, Lil Nas X had more to give. Over on his YouTube channel, Lil Nas X treated fans to a video for “Hotbox.” The electronic-pop tune continues Lil Nas X’s venture into the genre.

On the record, Lil Nas X is usual rambunctious self. But, instead of leaning on religious tropes, he dives into something equally controversial — sex. As his forthcoming album Dreamboy‘s title suggests, Lil Nas X is on the prowl. Although he can’t quite put his finger on what that is exactly, he doesn’t mind using his mouth (or theirs) to taste what is out there.

“Yeah, 11:30, we gon’ pull up in a / Black Benz, takin’ all the n****s / We gon’ pop a couple poppers, pop a couple jiggas / While they poppin’ paparazzi pictures / I got my b*tches in the back, and my bros in the front leadin’ / He keep lookin’ at me, I’ma make that boy a whole eater / I’ma f*ck his friend too, baby, I’m a whole cheater,” raps Lil Nas X.

Rumors and his previous track “Need Day Boy” suggest Lil Nas X is romantically locked in with fellow recording artist Destin Conrad. Based on the way Lil Nas X gallivants throughout the “Hotbox” video directed by Elias Talboy, that won’t disturb how well he plays with others.

Lil Nas X is a dream boy living in his dream world.

Watch the “Hotbox” video above.

Big times in Bon Iver land: Last month, Justin Vernon announced SABLE, fABLE, his first new album in six years. So far, we’ve heard “Everything Is Peaceful Love,” and today (March 14), Vernon shares a pair of new tracks: “If Only I Could Wait” (a duet with Haim’s Danielle Haim) and “Walk Home.”

Justin Vernon says of the songs in a statement:

“For the second look into fABLE, it couldn’t be a single; it had to be a double. First, ‘Walk Home’ is a romp where you can’t wait to pull your clothes off fast enough and jump inside bed with your one true lover. And then — the two of singles — ‘If Only I Could Wait.’ A duet. A bilateral crying question. How long can the two of us hang on to each other?”

A press release previously described the album as “a new nine-song saga in which one person becomes two, darkness turns to salmon-colored beauty, and sadness transforms to unbridled joy.”

Haim, meanwhile, are in a busy period of their own. Earlier this week, they released the single “Relationships,” the first taste of an upcoming album that hasn’t been officially announced yet.

Listen to “If Only I Could Wait” and “Walk Home” above.

SABLE, fABLE is out 4/11 via Jagjaguwar. Find more information here.

Last month, Halsey released the video for their Riot grrrl-sounding new song “Safeword.” It features a lot of BDSM imagery, including tight leather, spikes, whips, and a gimp suit. This along, with an Instagram post captioned “dirtbag girl in a dirtbag world” in which the “Ego” singer sports a schoolgirl skirt and “Breed Me” shirt, was apparently too revealing for some of their fans.

“I can’t believe how angry everyone is that I wore a push up bra. Damn I really still got it like that,” Halsey wrote on X. When a follower wondered, “wait who’s angry? The straights?,” they replied, “the body cops.”

After another fan pointed out “like we ain’t see yo whole tittie on a album cover,” Halsey wrote back, “exactly. like I didn’t do full frontal on a 100 foot tall imax screen bffr,” a reference to MaXXXine.

This isn’t the first time Halsey has faced comments about their body, as Billboard notes. The publication notes that in 2022, Halsey hopped on TikTok “to take part in a trend in which users share things that people tell them that they already know to the tune of Walworth & Howell’s 2004 track, ‘I Already Know.’” Halsey said the comments they saw were along the lines of “Halsey u look sick,” “Is she ok? Put some meat on those bones,” “She’s too thin,” and “Looks unhealthy.”

“‘u look sick’ BC I AM! LET ME LIVE!” Halsey wrote in the caption.

You can watch the “Safeword” video above.

Selena Gomez and Benny Blanco are very much in love, and they have the album to prove it. I Said I Love You First features singles “Scared Of Loving You” (co-written by Finneas), “Call Me When You Break Up” (featuring Gracie Abrams), and now comes the Lana Del Rey-sounding “Sunset Blvd.”

“With open arms / Holding you naked, middle of Sunset Boulevard / Making you famous, everyone’s watching / Bare skin, concrete,” Gomez sings over a warm synth-pop beat. “They’re calling the police / Open arms / Holding you naked, middle of Sunset.” She also suggestively says that she wants a “big, big hard heart.”

Previously, Gomez and Blanco discussed making an album together. “We said at the beginning, ‘If this ever is weird, we cancel it f*cking immediately,’ because we knew what we had was so important,” he told Interview, while the Emilia Pérez actress added, “I definitely didn’t feel any sort of pressure. I was maybe just nervous with jitters in the beginning, and then slowly but surely it was happening and it sort of fell into place with a lot of hard work and love.”

I Said I Love You First is out 3/21 via SMG Music/Friends Keep Secrets/Interscope Records. Find more information here.

As of this post, Playboi Carti is the No. 1 trending topic on X (formerly Twitter). Why? It’s not because he released his long-awaited new album Music: It’s because he didn’t release it.

New albums typically drop at midnight ET, but shortly after midnight this morning (March 14), Carti shared a post indicating the album would actually drop at midnight PT, so 3 a.m. ET. But, 3 a.m. came and went without an album.

Most of the tweets were from fans, some of whom stayed up late to catch the drop, either dumbfounded or frustrated that the album hasn’t arrived yet.

Carti himself also seemed annoyed: On his @opium_00pium Instagram account, he shared a screenshot of himself trending on X and captioned the post, “ANY MIN NOW @spotify.” In another post with a different X trending screenshot, Carti wrote, “AINT TAKING SH*T FOR GRANTED WE CAME TOO FAR TO PUMPFAKE.”

But, around 8 a.m. ET, the album finally arrived.

Check out the tracklist below.

Playboi Carti’s Music Tracklist

1. “Pop Out”
2. “Crush” Feat. Travis Scott
3. “K Pop”
4. “Evil Jordan”
5. “Mojo Jojo”
6. “Philly” Feat. Travis Scott
7. “Radar”
8. “Rather Lie” Feat. The Weeknd
9. “Fine Shit”
10. “Backdoor”
11. “Toxic” Feat. Skepta
12. “Munyun”
13. “Crank”
14. “Charge Dem Hoes A Fee” Feat. Future
15. “Good Credit” Feat. Kendrick Lamar
16. “I Seeeeee You Baby Boi”
17. “Wake Up Filthy” Feat. Travis Scott
18. “Jumpin” Feat. Lil Uzi Vert
19. “Trim” Feat. Future
20. “Cocaine Nose”
21. “We Need All Da Vibes” Feat. Ty Dolla Sign and Young Thug
22. “Olympian”
23. “Opm Babi”
24. “Twin Trim” Feat. Lil Uzi Vert
25. “Like Weezy”
26. “Dis 1 Got It”
27. “Walk”
28. “HBA”
29. “Overly”
30. “South Atlanta Baby”

Steven and Ian open this week’s episode by addressing the confusing new slang about “reheating one’s nachos” as a metaphor for revisiting a signature style, used this week in reference to the new Lady Gaga album. They also talk about the new single from Haim, and what it portends for (presumably) their upcoming LP.

In the mailbag, they weigh possibilities of Indiecast merch and spend a ton of time contemplating their ultimate indie-rock all-star band, picking a singer, bassist, guitarist, drummer, and producer.

In Recommendation Corner, Ian goes for the latest from British pop-rock outfit Courting and Steven stumps for the new album from North Carolina alt-country band Fust.

New episodes of Indiecast drop every Friday. Listen to Episode 230 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

Chappell Roan had a remarkable rise to the top of the pop pantheon in 2024, despite only releasing one new song that year. That’s how good “Good Luck, Babe!” — and 2023’s The Rise And Fall Of A Midwest Princess — is.

But on Thursday (March 13), Roan shared a new song, “The Giver.” Okay, she technically debuted the high-energy lesbian country track on SNL (the best musical performance of the season), but now there’s an official studio version — and it’s a whole lot of fun.

“I have such a special place in my heart for country music,” Roan said in a statement. “I grew up listening to it every morning and afternoon on my school bus and had it swirling around me at bon fires, grocery stores and karaoke bars. Many people have asked if this means I’m making a country album??? My answer is… right now I’m just making songs that make me feel happy and fun and The Giver is my take on cuntry xoxo may the classic country divas lead their genre, I am just here to twirl and do a little gay yodel for y’all.”

Check out “The Giver” above. You can also find more information, including how to pre-order 7-inch limited edition vinyl records, here.

Law & Order: Organized Crime viewers didn’t have an easy time last year while awaiting news of whether their beloved Elliot Stabler would return to the criminal underworld. Do not fear, though. Hotheaded Stabler will be back, and he’ll have Olivia Benson by his side at some point since Christopher Meloni wrote her into the fifth season because he knows the assignment.

Still, the road to renewal was a surprisingly delayed one. Law & Order and Law & Order: SVU were both re-upped by NBC while thumb twiddling began on the franchise’s darkest show, wherein the format is not serialized, and ongoing stories mean that defendants don’t commit their crimes, head to trial, and go to prison in the same episode. Indeed, this is a different type of Dick Wolf drama, and so, the decision was made to move Stabler to streaming on Peacock. And you know what? That’s alright. Let’s talk about what we can expect, long after the hot octopus villain, when Meloni comes back.

Plot

Despite the delay, Elliot Stabler’s career hasn’t changed much since “Stabler’s Lament” (which is the title of the most recent season finale). “The dangerous worlds of cross-border smuggling, high-tech domestic terrorism and a crime family intent on repaying Stabler for the injury he did them in Rome,” promises the season synopsis. “As his worlds collide, Stabler will put everything on the line to protect the vulnerable and fight for justice.”

As viewers also know, Stabler does not operate in a vacuum because it truly takes an NYPD village to keep him in the thick of underground crime syndicates. He remains on the job with Sergeant Ayanna Bell (Danielle Moné Truitt), Bobby Reyes (Rick Gonzalez), and Jet Slootmaekers (Ainsley Seiger). His brother, Randall, will also be on hand as portrayed by Dean Norris. And a new detective, Ted McKenna, will be portrayed by Jason Patric. (FWIW, NBC used the term “fang-tastic” while discussing The Lost Boys star in his casting announcement.)

Specific plot tidbits remain under wraps, but Dean Norris recently told TV Insider that this show will get even “edgier” now that they don’t have to stick to network TV constraints. And Stabler can cuss now? Definitely:

“It’s going to be great. There’s a lot of family stuff between me and my good buddy Chris Meloni, and I think you guys are going to love it. I’m really excited because it’s on Peacock. We can say the F word. It’s a lot edgier, it’s a lot more intense, and so it’s been kind of freeing in a way, creatively, to be on streaming, on Peacock, instead of on the network.”

Let the F-bombs begin. And if Peacock ever decides that they have had enough of Stabler’s potty mouth and cancel the series, Mariska Hargitay told the world that Meloni will always be welcome (in her eyes) on SVU.

Cast

Chris Meloni returns as the imperfect but dogged Elliot Stabler. Additionally, this season co-stars Danielle Moné Truitt, Rick Gonzalez, Ainsley Seiger, and Dean Norris. At least one guest appearance will be made by Mariska Hargitay, and Jason Patric will be doing the detective thing.

Release Date

Finally, the spin off series will return April 17 with two episodes with weekly drops for a total of 10 episodes.

Trailer

An Elliot Stabler-focused teaser is out for a single goal: “justice.”

For Lili Reinhart, who rose to fame on the CW’s long-running teen drama, Riverdale, existing online was always the norm. Even as her peers – Maya Hawke and, more recently, Scarlett Johansson – have spoken out about the part follower counts play in franchise casting or getting indie projects off the ground, she’s always had a realistic view of social media and how useful it can be. Would it be nice, less exhausting even, to be someone like Emma Stone or Jennifer Lawrence, actors who don’t have a platform where people can peek at intimate pieces of their life? Sure.

“But I think I was just born and raised in the era where you had it and didn’t think otherwise,” Reinhart tells UPROXX. “I joined Instagram when I was 16. I think in hindsight, I would still choose to have it because it’s led to a lot of connections and a lot of good, but there is a weird balance there.”

She’s thinking more about that balance lately thanks to her recent indie project, a thriller titled American Sweatshop that premiered at SXSW over the weekend. In it, Reinhart plays Daisy, a twenty-something young woman working as a social media content moderator who is forced to witness the very worst of human nature, one flagged media post at a time. Directed by Uta Briesewitz (Severance, Black Mirror), the film argues that, yes, the internet is a cesspool, but it could be worse. It could exist without these real-life digital sin-eaters who wade through the amoral muck so we can enjoy our doom-scrolling without so much post traumatic stress.

Even before the film, Reinhart was rethinking her social media habits. She recently launched her own skincare brand, Personal Day, and her own production company, an entrepreneurial pivot that’s changed her persona online.

“I had to lean into being a founder and an influencer more than an actor online. And that’s been weird,” she explains. “I don’t love being more of a personality online than an acting figure, but it’s sort of what I’ve had to do to cultivate a business that I founded. So sometimes you just got to roll with the punches and know that it’s for the sake of a company or the sake of a film.”

Despite that, there’s one app she’s happy to have deleted from her phone: Twitter.

“[X] is just a toxic, shitty place,” she says.

Though American Sweatshop doesn’t explicitly name any social media platforms, Briesewitz and Reinhart drew inspiration from real-life stories of Facebook, YouTube, and X content moderators who toil long hours in warehouse-sized cubicles as they sift through the junk their Silicon Valley counterparts can’t be bothered to clean up. From German documentaries and peer-reviewed studies to investigative reports and multi-million dollar class action lawsuits, the pair didn’t have to dig too hard to realize the human cost of the internet’s dirtiest secret. A simple search can turn up dozens of stories on minimum-wage workers in places like Texas, California, and Florida (where Briesewitz’s film is based) who review millions of disturbing images, videos, and instances of hate speech – flagged content called “tickets” – per day. According to a report by NYU Stern, just one Facebook moderator examines 200 posts in an 8-hour shift or one post every 2.5 minutes. Graphic violence, pornography, and conspiracy theories can make up the bulk of that content. No wonder then that so many who take on the job begin suffering panic attacks, anxiety spikes, nightmares, insomnia, depression, and PTSD just months after onboarding.

“These people are suffering,” Briesewitz says.

For Daisy, the darkness begins to creep in after a particular ticket, one involving an off-camera act of sexual violence, causes her to faint on the warehouse floor. Most of Briesewitz’s film hinges on Reinhart’s physical reactions to content the audience is (thankfully) shielded from. She trusts viewers can draw conclusions without any spoonfeeding. Muffled moans might be porn, screams and gunshots might allude to an act of mass violence and we make educated guesses at the outcome based on Reinhart’s expressions. She’s the film’s emotional fulcrum.

“It’s not gore porn,” Reinhart says of the decision to keep some of the film’s violence vague. “It’s not something that an audience will walk away feeling like they can’t get those images out of their head. We don’t want to traumatize an audience by talking about the trauma of what’s online. Ultimately, the movie’s about how these things affect us as human beings.”

That’s why, halfway through the film, once the psychological slog of Daisy’s every day makes its impact, Briesewitz flips the script, turning her drama into a thrilling experiment in back swamp noir that sees Reinhart risking it all to track down the man in the video that’s started to haunt her waking hours.

“Seeing this video changes her,” Briesewitz says. “She talks about it, how she sees a lot of violent videos and it makes her want to be violent. It’s almost like downloading these images – everything that she sees and takes in – is changing her DNA, changing who she is.”

And this is where Florida comes in.

While most of the movie was shot abroad, Briesewitz clung to the idea of setting her film in the panhandle for two reasons. First and foremost, there’s something primal and wild about the place, at least according to the German filmmaker: “Let’s face it, Florida is just a weird place.”

But, as Briesewitz was researching stories of content moderators in the states, a wetlands mascot caught her eye.

“The gator was part of a magazine article about places like this,” Briesewitz says of the massive reptile in the film that floats in a nearby pond where Daisy spends her smoke breaks. “Workers were talking about how they could look out the window and they would see this alligator that had moved in into a little body of water near the parking lot and nobody would really fully acknowledge the danger of him; everybody would just go back to their work. That is a beautiful metaphor for it all. The danger of saying, “I’m not fully acknowledging and just living with it. It’s all okay and it’s normal.’”

Reinhart hopes her film will make audiences reconsider their chronically online status in the same way she has. Moderation is, after all, the whole point.

“As much good as there is from an online community where people can gather and share experiences and stories that are accessible to anybody, I think the spread of misinformation is so much more harmful,” she says. “I think the bad unfortunately outweighs the good. And I try to tap into the good by being more involved in the good communities. But I think as we’ve seen, if there’s going to be a community of people lifting each other up, there’s going to be the opposite. And unfortunately, I think that community is a thousand times larger and more aggressive and violent. And so that has bred a lot of fear and hate and violence, especially in America. I hope we reach a point one day where we can all collectively say, ‘Let’s be done.’”