Martin explained (starting at about 4:11 into the video above):
“You realize in a way that maybe the drive that you had, or the ego, is to sort of rocket-boost you to place where you can actually be a bit more useful. It’s not about winning this and beating that person anymore. It’s just… make something that some people might like. […]
I have to consciously override… I mean, I have to consciously listen to a lot of weird feelings, and luckily have some tools to help me these days to not be owned by that feeling. And one of the hardest ones is like, ‘Oh man, Harry Styles’ new song is better than our new song,’ or something like that. Luckily, I’ve been taught how to very quickly be just inspired by it, be like, ‘Well, you know what? It’s awesome, and he’s awesome, and I love him, and I’m just going to work harder.”
Check out the interview clip above and find the full Conan O’Brien Needs A Friend episode here.
Coldplay is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
As just about everyone knows by now, thanks to Warner Bros. Discovery putting the moment in a TV ad, Wonder Woman makes a cameo in the sequel. However, some fans aren’t convinced that Gal Gadot is really in the film, and a rumor has been circulating that her appearance is actually a deepfake. The confusion can be traced back to a viral tweet that shows Gadot’s stunt double Taylor Cahill on set with the cast.
“Wait, they deep fake gal gadot’s face on taylor cahill’s face for shazam! fury of the gods??!” the tweet reads.
With the deepfake rumor reaching a fevered pitch, Sandberg set the record straight with visual evidence to boot.
“A certain cameo in #ShazamFuryOfTheGods had to be shot in England but I couldn’t go because of a visa issue so I directed remotely. It wasn’t a deepfake as some believe,” Sandberg tweeted along with a video of him directing Gadot.
A certain cameo in #ShazamFuryOfTheGods had to be shot in England but I couldn’t go because of a visa issue so I directed remotely. It wasn’t a deepfake as some believe. pic.twitter.com/p8ODDHWe9Q
In a very James Gunn move, the director also jumped into the replies of people spreading the deepfake rumor to explain how basic filmmaking and body doubles work.
“We shot the scene with Taylor to figure out what coverage we then needed to get with Gal since she couldn’t make it to Atlanta,” Sandberg said. “It’s also Taylor’s body with the wizards head on it. There is absolutely no deepfaking going on. When you see Gal it’s 100% her.”
We shot the scene with Taylor to figure out what coverage we then needed to get with Gal since she couldn’t make it to Atlanta. It’s also Taylor’s body with the wizards head on it. There is absolutely no deepfaking going on. When you see Gal it’s 100% her.
So there you have it. Gal Gadot was really in the movie, but she did not shoot with the rest of the cast, which happens all of the time on these things. Actors are busy, folks.
Lana Del Rey’s highly anticipated new album Did You Know That There’s A Tunnel Under Ocean Blvd is finally out now. It’s all anyone can talk about, whether it’s the sultry “Peppers” or the vulnerable “Fingertips.” There’s also a track called “Kintsugi,” and in a recent interview with Rolling Stone UK, the star explained the meaning of the word.
“‘Kintsugi’ I started writing naturally when my sister and my dad and I were at my great uncle Dick’s hospice in Manhattan Beach, with all 50 of the Grant members,” she explained. “Almost don’t need to explain that metaphor to the idea of falling apart and rebuilding one’s life back even more beautifully.”
As for the literal meaning of the word “kintsugi,” Dictionary.com defines it as “a traditional Japanese pottery repair technique in which lacquer mixed with precious metals, especially gold, is used to fill cracks and replace missing pieces.”
Lana said she and her family would sing around her uncle’s bed, which eventually led to her having an epiphany. “I always thought I sang to get out of my small town and then I realized that has nothing to do with it. And then somehow I went from talking about family to talking about people I’m dating, to talking to my dad, that I miss them.”
Watch the interview above.
Did You Know That There’s A Tunnel Under Ocean Blvd is out now via Interscope. Find more information here.
Stephen A. Smith has a lot of very strong opinions on a lot of things. Nothing, however, gets him going like the chance to talk for several uninterrupted minutes about the New York Knicks, his hometown NBA team which has done nothing but infuriate him over the last however many years.
But things look like they might be turning around in the Big Apple. Despite a recent slide, the Knicks are 42-33 on the year, good for fifth place in the Eastern Conference. Jalen Brunson has been terrific, Julius Randle made it back to the All-Star Game this year, and there is real excitement around the team beyond just this season. And perhaps most importantly, all of it comes after the Knicks tried and failed to acquire Donovan Mitchell from the Utah Jazz in the offseason, which is the sort of thing that could have led to New York being a punchline all year with how he’s played in Cleveland.
Having said that, if the regular season ended today, the Knicks would play none other than Mitchell and the Cavaliers in the first round. This has Smith a little concerned, and on Friday’s episode of First Take, he went on quite the rant explaining how he’d be fine with New York losing to literally anyone else in the postseason.
“Listen, I’ve said it before, and I’ll say it again,” Smith said before immediately contradicting and then correcting himself. “And I’ma say it for the last time — dammit, I’m lying, it’s not gonna be the last time I’m gonna say this. Let me tell you something: The New York Knicks, and I don’t care what they’ve done this season, you can lose to Milwaukee, you can lose to Boston, you can lose to Philly. All of that’s understandable and acceptable.
“Christine, Kendrick Perkins knows this: The New York Knicks cannot lose to Donovan Mitchell,” Smith continued. “Donovan Mitchell is who? He was supposed to be in a New York Knicks uniform. His bags were packed, he was looking forward, he was excited, he wasn’t thinking about no damn Cleveland, he wanted to be home in New York. And Leon Rose played possum.”
For the sake of Stephen A. Smith, I hope that the Knicks and the Cavaliers do not play in the postseason this year.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
After solidifying himself as one of Latin music’s top rappers, Myke Towers is proving there’s no limits to his flow with his genre-bending album La Vida Es Una. While delivering more reggaeton and Latin trap bangers, the Puerto Rican artist also dabbles in Afrobeats, R&B, and house music influences. Towers shows that he’s an all-around Latin pop star on his LP, which features J Balvin, Daddy Yankee, Arcángel, and Ozuna.
Towers made his debut in 2020 with his first album, Easy Money Baby. The LP boasted his breakthrough hit “Si De Da” with Farruko. After scoring multiple reggaeton hits, he returned to his Latin trap roots with his 2021 album Lyke Mike. As an established force in both genres, Towers is now pushing his flow to new places while embracing a global sound that his fans around the world can enjoy.
“Lyke Myke was something more for me,” Towers says. “With this album, I’m thinking more about my fans, what they want, and the kind of music they want to hear live. I made this album being more conscious of what people are looking for from me.”
The album’s title translates to “You Only Live Once” in English and Towers embodies that feel-good energy throughout the 23 tracks. Over Zoom, he caught up with Uproxx about what he wants his fans to take from La Vida Es Una, his big collaborations, and what’s coming next.
Why did you decide to name your album La Vida Es Una?
I gave it that name because lot of things have happened like with the pandemic. It makes you think, “There’s not a lot of time to follow your dreams, so have to give it your all.” They say you that you have take advantage of your time here and enjoy it. I’m always conscious of things like that. That you only live once.
In addition to reggaeton and trap, you explore genres like Afrobeats, R&B, reggae, and house music album. Why did you decide to branch out into those genres?
I wanted to take risks on a musical level and do things that I’m not used to. I’m at a level where I have a lot of fans so I have that responsibility to please them. I can’t limit myself. Thanks to them I’m at where I’m at now. I’m doing the music that I like to do with a mix of what my fans are asking for. With this album, we’re separating the Myke Towers with the “y” from the [Mike] with the “i.”
You collaborated with J Balvin for the song “Celos.” What was that experience like working with him?
I have a lot of respect and admiration for Balvin. He’s a guy that’s super humble. For example, if you write to him in a DM on Instagram, he will respond to you right away. That’s something that you don’t expect from him at the level of fame that he’s at. I’m always like a little boy asking many questions with people like him because I like to learn. We had a great time when we shot the music video together. The other day we went to an Afrobeats concert together. Balvin is a leader. He has my respect.
You salute reggaeton pioneers Don Omar and Tego Calderón in “Don & Tego.” What inspired you to make that homage with Arcángel?
The song “Bandoleros” by Don Omar and Tego Calderón is an anthem to me. It’s always playing around the world. There hasn’t been a time since that song has come out that it hasn’t been played anywhere. And as artists, they’ve inspired me like Arcángel. The name that made the most sense for me was “Don & Tego. ” I feel like this song was something that was missing in the streets. A very street reggaeton song that that we liked back then that inspired us. We made that with this song and I know when people listen to it, they’re really going to like it.
Another reggaeton G.O.A.T that you collaborated with is Daddy Yankee. What was the experience like working with him in “Ulala (Ooh La-La)”?
The legend allowed me appear on his album [Legendaddy] and now he’s appearing on mine. For me, that was like earning the respect from the leader of the genre. For him to be on my album, that’s above and beyond. My respect from D.Y. was earned in levels. First, he gave me advice before he was collaborating with me. He saw my process [in the studio] and told me — he knows how to identify what’s strong and what’s not. That’s why I’m sure of myself.
I love the R&B sound the “Cama King.” This is my first time hearing about Chita. Why did you decide to feature her on this song?
[The song’s producer] Tainy is a visionary. When I told him I was missing a female voice on this song, he said, “I know who would be good for this. Calm down.” When I heard what Chita sent, I went crazy. I didn’t meet her in person but I told her thank you for collaborating me with. I hope this is a blessing for her as much as it is for me. She’s a female Argentine artist and the women are killing it right now.
“Aguardiente” is a song that stands out to me because it has a really Colombian vibe.
I made that song with Sky. He’s Colombian. He one’s of those producers that I click well with. Every time we get together, we come out with classics without forcing anything. [The alcoholic drink] Aguardiente is something that’s clearly from Colombia and I wanted to make a song with that. It goes hard.
What do you want people to get out of this album?
I want people to get the message that sometimes we worry about things that aren’t worth it. We have to remember that you only live once. With what I do, I want to motivate people as well. Even though it seems easy, it’s not easy. I go through things as well. It might not be the same [problem] as yours but we’re going to get to a point where we can relate. With this album, I want to unite people when we sing it live together. It’s something to enjoy. I want them to do with it what they want, to dedicate it to who they want to dedicate it to, and to go out and enjoy it. When I’m in your country to perform, we’re going to sing everything together.
What do you want to accomplish next?
Thanks to God we’re making moves that we’ve never done before. Little by little, I’m taking my name, my island, my music, and my movement to new heights. I want to make an impact with young people. That’s where I’m inspired. I want them to feel that Myke Towers is with them. I want them to feel like they’re a part of my movement.
La Vida Es Una is out now via Warner Music Latina. Listen to it here.
Myke Towers is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
When you think back to your high school health class, you might remember learning a little bit about the food pyramid or exercise or something along those lines. You probably weren’t paying attention anyway. But nothing you learned all those years ago could ever be quite as impactful as the line “Don’t have sex, because you will get pregnant and die,” said by Coach Carr in Mean Girls. Is it factually accurate? No! But it’s funny, and that’s all that matters when it comes to the American educational system.
As we gear up for an on-screen adaptation of the Mean Girls musical, the casting for all of the quirky side characters is slowly coming together, and now Mr. Mad Man himself Jon Hamm is joining the complex world of Mean Women as the over-the-top and awfully misinformed Coach Carr.
Hamm will portray the gym teacher in Tina Fey’s upcoming adaptation of the hit musical, which will star Fey alongside Tim Meadows, Jenna Fischer, Busy Philipps, Angourie Rice, Auli’i Cravalho, Jaquel Spivey, and Reneé Rapp. The movie will head to Paramount+ for its grand debut. It’s nice to see Hamm getting back in the saddle after selling his soul to Progressive Insurance. Maybe Flo will be released someday soon.
Fey and Hamm have worked together numerous times over the years, most recently in the true crime thriller Maggie Moore(s) which is expected to get a release later this summer. But you probably remember them best from their incompatible on-screen romance in 30 Rock.
Now, we can prepare for Hamm to hand out condoms to a gym full of sweaty teenagers who can (and will) break out into a musical number at any given moment. If Fey knows what’s good for her, she’ll write a jaunty little tune for Coach Carr to sing before he inevitably gets fired for making out with a student. It was 2004, mind you.
When it rains, it pours. Last week, 50 Cent, Courtney Kemp, and the Starz Network were named in a $1 billion lawsuit. In the suit, brought forward by Corey “Ghost” Holland, the parties were accused of using Holland’s life story as the basis for their breakout multiversal series Power.
But based on an exclusive report from AllHipHop, that was only the beginning. According to the outlet, Holland is following up his initial suit with additional ligation, this time a $300 million suit against Lionsgate Entertainment, the parent company of the Starz Network for intentional infliction of emotional distress and negligence in hiring and retention, and a slew of other charges.
Holland is accusing Lionsgate Entertainment of encouraging 50 Cent’s ongoing intimidation of him to drop his $1 billion suit. In the filing, Holland states that affiliates of the company were aware of the mogul’s intimidation tactics but did not intervene.
A line from the document states, “The defendants [Lionsgate Entertainment] knew about Mr. Jackson’s propensity to cause harm and violence to innocent and or vulnerable people, before they hired him and then retained him, then rewarding him with a 150 million dollar contract. Mr. Jackson is very open about his violent behavior, the defendant even acknowledged this behavior and chose to ignore it, due to the financial gains they had made with Mr. Jackson from 2016-2022, and still do partner with Jackson on numerous television deals.”
Representatives for Holland note 50 Cent was “found guilty of intentional infliction of emotional distress, just months before renewing his employment” and alleges that 50 is seen “on video prior to receiving a massive contract with the defendants explaining how he will hire a hitman to kill people from the hood, who file any lawsuits on him.”
Neither 50 Cent nor Lionsgate Entertainment have issued a public statement regarding the matter.
Today, just a day after announcing the end of her partnership with Adidas for Ivy Park over creative differences, Beyoncé got to announce some good news in the form of a new collection with Balmain’s Olivier Rousteing. Rousteing, who was inspired by Beyoncé’s new album Renaissance, said of the collection, “I was sketching and sketching as I listened, and sometimes you can’t control the emotion of your sketch… it wasn’t something I was supposed to be doing but I was just inspired by the music to do it.”
Over on Instagram, Beyoncé offered her thoughts on the collection, thanking Rousteing and Balmain and calling the experience “freeing.” “Thank you @olivier_rousteing and @balmain for bringing RENAISSANCE to life in couture,” she wrote. “Designing alongside you was freeing—thank you for allowing me to celebrate the human form, to take artistic risks, to push boundaries and to freely express myself. To the @voguefrance team, thank you for trusting in our vision and sharing it with the world.”
The collaboration marked the singer’s second major collaboration with the French design house. The first, in 2018, produced the pieces that she wore during her historic headlining set at Coachella. Rousteing was responsible for that collection as well, which consisted of HBCU-inspired pieces like hoodies and t-shirts as well as the elegant, diamond-draped gown she wore on stage.
Each of the new looks is inspired by a different track from Renaissance, which you can check out on Vogue‘s website.
WARNING: this post contains spoilers for John Wick: Chapter 4
We’ve covered the scene that inspired Keanu Reeves to make John Wick: Chapter 4 and the rare post-credits scene that’s worth sticking around for, but there’s something that happens between those two moments that’s worth discussing, as well. After John Wick is killed in his duel against the Marquis in Paris (or more actually, his duel against Caine… and then John blows the Marquis’ brains out before succumbing to his wounds), the movie cuts back to New York, where he’s buried alongside his wife, Helen.
At the cemetery, Winston rests his hand on John’s tombstone and says “farewell, my son” in Russian. Is Winston John’s actual father, or a father-like figure? The latter is more likely. For one thing, Winston has a tattoo of the Ruska Roma syndicate on his wrist; he and John are part of the same crime family. Winston also has paternal affection for John — or Jonathan, as he, and only he, calls him. So, is Winston John’s biological father? Unlikely.
“Fourth John Wick, you think, ‘Same old,’ but it’s not,” Ian McShane, who plays Winston, told Screenrant about Chapter 4. “It’s expanded, the relationships have got deeper, they’ve gotten better; you understand more about the world. It’s matured, but I think that’s due to the writer and Chad staying with it. Chad directing all the movies. It wouldn’t be the same. That’s key to it, absolutely.”
Teyana Taylor had a good time last night (March 23) during her appearance on Jimmy Kimmel Live! to support her new movie A Thousand And One. She discussed her funny interaction with Justin Bieber during a celebrity basketball game, and she also dished on her experience teaching Beyoncé the “Chicken Noodle Soup” dance when she was only 15 years old.
“She originally wanted to learn the ‘Chicken Noodle Soup,’” she told Kimmel, and then clarified, “This is a popular Harlem dance. I’m from Harlem. I’m battling everybody, and she wanted to learn. So they called me and I was like 15 years old, so I hopped off the bed onto my skateboard and went down there.”
She was surprised at the time, saying she “didn’t even know I would have that opportunity.” Beyoncé even advocated for her to spice up Jay-Z’s music videos as well.
“She was like a proud aunt. She was like, ‘I told you she’s a superstar,’” she said.
When Kimmel asked if Jay-Z thought she was a superstar as well, she answered, “He did. But first he tried to give me a hard time, because we’re both a Sagittarius. So he was testing me.”
Watch the full interview above.
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