After Candace Cameron Bure kicked off a wave of controversy that even has her longtime Full House co-star Jodie Sweetin shading her, The Walking Dead star Jeffrey Dean Morgan has entered the fray. At issue is a recent interview with the Wall Street Journal where Bure says her new home at Great American Family network, where she also serves as Chief Creative Officer, will only produce Christmas movies that focus on “traditional marriages.” (Read: No gay stuff.)
One Tree Hill star Hilarie Burton was one of the first stars to slam Bure and Great American Family for “openly admitting their bigotry.” Her tweet caught the attention of her husband Morgan, who backed up Burton for calling out Bure’s anti-gay agenda.
“How’d I miss this twit?! Who the f*ck is this person?” Morgan tweeted before giving his wife a shout-out. “Hey Hil? You’re awesome. We lucky to have ya.”
How’d I miss this twit?! Who the fuck is this person? Hey Hil? You’re awesome. We lucky to have ya. X
After calling Bure a “twit,” The Walking Dead star swung back around to fire off another supportive tweet for Burton. “‘Make your money honey.’ Lol… cooked kids dinner and was laughing whole time. Wife has words AND timing.”
“Make your money honey.” Lol… cooked kids dinner and was laughing whole time. Wife has words AND timing.
On Wednesday, Bure issued a very long, and notably very non-apologetic statement to Variety where she addressed the mounting controversy. She did not walk back her “traditional marriage” remarks, but instead, doubled down on her Christian values and called out the media who “fan flames of conflict and hate.” But she’s not mad.
Bure wants it known that she loves all people. You just can’t be gay and in her Christmas movies. God bless!
Anya Taylor-Joy starred in The Witch, but she is not a witch (probably). Anya Taylor-Joy is the voice of Peach in The Super Mario Bros. Movie, but she is not a princess (again, most likely). Anya Taylor-Joy described herself as a “mud-caked ferret” in The Northman, but she is not a ferret (I feel pretty comfortable about this one).
So, even though Anya Taylor-Joy played a chess prodigy in Netflix’s The Queen’s Gambit, don’t expect her to keep a spare pawn in her purse.
“People are genuinely surprised that I don’t travel with [a chess board] underneath my arm at all times. It is quite strange and I hope I never disappoint people, but you have to learn new skills for these new jobs,” The Menu star told the Hollywood Reporter.
When Taylor-Joy finished The Queen’s Gambit, “I became very, very good at cold weather exposure because I had to be,” she said, referring to The Northman. “And the second that was done, I got very good at guns and cars and motorcycles [for Furiosa]. So I hope I never disappoint anybody by not playing them.” Don’t worry, it’s impossible to be disappointed by someone who chose The Witch over a Disney Channel pilot.
“I got a Kanye-related tattoo in 2016 and ever since he’s been the most colossal f*ck head on the planet,” read a tweet from Londoner Alex Jones (no relation). It seems as though reading Jones’ tweet has inspired London tattoo removal studio NAAMA to reach out to him and others like him and offer free tattoo removal services.
I got a Kanye related tattoo in 2016 and ever since he’s been the most colossal fuck head on the planet
“Yeezy come, Yeezy go. Got a #kanyewest tattoo? Tag us,” NAAMA said on Instagram. It’s not hard to expect fans (former fans?) of West to regret their body art decisions following the rapper’s recent barrage of antisemitic remarks, his inexplicable tirade on why “White Lives Matter,” and then some. For Jones, he took NAAMA up on the offer to remove his tattoo of an alternative cover art design of the My Beautiful Dark Twisted Fantasy album. “It’s really kind of depressing to see someone that you like, who was your hero, start saying awful things about entire groups of people,” Jones told Metro UK. “So yeah, it’s been quite a sad journey.”
https://www.instagram.com/naamastudios/?hl=en
NAAMA Studio’s Briony Garbett spoke to Metro UK and said, “People with Kanye tattoos were coming to us and you could hear how triggering it was for them, how embarrassing and shameful they felt, given he’s been making the headlines for the wrong reasons.” Adding that, “I don’t think there’s any shame in people having got the tattoos in the first place.”
If you’re having second thoughts about that Kanye West tattoo you got way back when, NAAMA’s website is here.
The Sandman fans can officially look forward to a Season 2 on Netflix. The buildup will undoubtedly include speculation about who the hell might play Delirium while trolls are still hung up on the “woke” casting of Season 1. Neil is still firing back at those weirdos because they almost certainly don’t realize that the comic was “woke” long before woke was a thing. Yet diverse casting can really get people steamed, and they won’t even dare to admit that not making Death a perky goth girl worked so incredibly well for “The Sound Of Her Wings” as a live-action story.
It’s time to discuss other casting matters, though, which fortunately happened during a new Inverse interview with Neil. As fans already know, Gwendoline Christie does the most regal version of Gaiman’s Lucifer Morningstar on record (Michael Sheen, who does the character on Audible, will probably not be upset about this observation), but the comic book character was actually based upon David Bowie’s likeness. So, that’s a perfect opportunity for Inverse to ask whether a still-alive Bowie would have been a contender, and Gaiman was happy to answer:
“I wouldn’t have cast David Bowie as he was before he died, because the whole idea was that Lucifer is meant to look like a beautiful angel. I absolutely would have cast David Bowie if we had a time machine and a cloning device and we could have had David at any time between his 20th birthday and let’s say his 50th birthday, and I would have done the casting then. But, I suspect that David might well have been keen seeing Gwendoline play the part because he was somebody who was asked who he’d like to portray him in a biopic and his answer was Tilda Swinton. So he probably would have loved to have seen Gwendoline.”
I gotta agree that I can’t see anyone pulling off the character in this production like Gwendoline did. And I love hearing niche fan questions like this one, and the one about Neil revealing what would happen if a werewolf bit a goldfish. Neil has good questions, too. Just ask George R.R. Martin.
We all know that seahorses are some of the most unique and fascinating creatures that Mother Nature has to offer.
For one thing, they’re gorgeous. Who has ever looked at a seahorse, with all its vivid colors and delicate, otherworldly shapes and gone, meh? No one, I tell you.
Plus they’re basically the mascot for cool, supportive dads everywhere. Not every creature in the animal kingdom can say that.
Yet, for as much as we know about the seahorse, there are even more thrilling stories swimming around—particularly when it comes to how it got here in the first place.
A video published by PBS Eons explains that today, seahorses are found in all of the world’s oceans. And yet, they are pretty terrible swimmers. So how on Earth could they have traveled such far distances to spread across the globe?
As it turns out, the answer is possibly hiding even further below the surface.
Throughout at least the last 55 million years, the ocean floor around southeast Asia has been whirling with tectonic plate activity, with the most important shift happening at the end of the Cenozoic era.
As deep channels between continents became more shallow and surfaces were thrust upward toward the sun, more aquatic plant life was able to grow and expand. Experts think that meadows of seagrass in particular helped ancient seahorses travel away from the waters of the Indonesian region (where they likely originated) and across the world. Yep, just like land horses, seahorses wildly gallop into unknown terrain. Actually, they prefer to simply hold onto traveling seaweed and raft into unknown terrain. Still majestic though.
You can watch the full video here:
How Plate Tectonics Gave Us Seahorses
The surge in seagrass might have even caused seahorses to trade in the long, horizontal shape of most traditional fish for their signature upright posture. As the video explains, the grass beds might have supported their ambush hunting technique, allowing them to obtain a longer reach and blend in with the grass blades before striking. Ambush hunting seems OK for a seahorse, but kind of terrifying if you think of land horses doing the same thing. Thank goodness the latter are herbivores.
PBS Eons is a virtual treasure trove of lesser known evolutionary stories. Its YouTube channel covers everything from the domestication history of cats to why we have 10 toes. If you’re looking to go down the coolest educational rabbit hole ever, you can check out its videos here.
A series of break-ins in an upscale neighborhood in Oak Bay, British Columbia, are not what they seem. On two separate occasions, homeowners thought they were the victims of home invasions when, in fact, they were being visited by a mischievous owl.
The first “break-in” happened Nov. 10 when police received a 911 call from a homeowner in distress. “Sure enough we found the perpetrator perched on a very expensive leather couch in the living room,” Oak Bay Police Constable Steven Twardy told CTV News.
The officers were able to escort the owl out of the home after chasing it with brooms. The constable named the owl “Winky” because it tended to close one eye. It appears to have suffered some type of injury.
Three days later, a woman was checking in on her friend’s home when she found it seemingly ransacked. “Pictures off the walls, vases on the floor and lamps and stuff,” Tina Gaboury told CTV. However, it wasn’t a burglar but Winky the owl who had hit up another Oak Bay home.
“I was walking around thinking it was a home invasion, then out of the corner of my eye I caught a glimpse of an owl hanging on a chandelier in the living room,” Gaboury said.
No one knows how Winky has been entering the homes though some believe the feathered felon may be getting in through the chimney. But the big question is, when will Winky strike next?
CTV has been on top of the story and posted this pun-tastic report.
It feels pretty safe to say that having a car stolen is universally traumatic. The invaded privacy, potential loss of irreplaceable items (everything from expensive equipment to silly trinkets that might hold immense sentimental value), and financial strain are enough to be devastating for anyone. And for those whose livelihoods depend on their vehicle, this stress is exponentially greater. The fact that people choose to inflict this kind of damage upon others is enough to make one lose faith in the human race.
However, despite humanity’s potential to commit truly awful acts, it always holds an equal amount of potential to help each other in times of need.
For landscaper Andres Benitez, paying the bills and putting food on the table relied heavily on the family’s work truck, along with the tools used for their business inside. According to NBC Los Angeles, it was something that the Benitez family saved up for years to afford. Then, on Nov. 9, it was stolen and used in a chaotic two-hour police pursuit from Orange to L.A. County in California.
The car thief broke into the Benitez home, stole the keys, then sped away—driving the wrong way on narrow two-lane roads, running red lights and crashing into multiple cars. By the time the illegal driver was arrested, the family’s work truck was heavily damaged.
To make matters worse, even though the truck was insured, it was now considered evidence and would possibly not be returned for a very long time—if at all.
Benitez might have been initially heartbroken, but he would soon be surprised that in his darkest hour, he would be met with compassion. He shared in an Instagram post that within only an hour of the incident unfolding, people showed up with trucks and tools to share, and were even offering volunteer work.
Benitez would later set up a GoFundMe page, initially only to raise enough money to replace the lost landscaping tools. But as of Nov. 15, the page has raised more than $100,000, allowing the family to get a new truck and continue earning a living.
As Benitez shared in a subsequent Instagram post, the whole thing was a “tragedy turned into a blessing,” one he plans to pay forward by getting in touch with and helping another victim in the incident who similarly used his van for work.
The young landscaper might describe the episode as a “life changing experience,” but fortunately, in this case it’s an uplifting use of the term.
“[It’s] truly heartwarming and unbelievable… [it] puts a big smile on my face knowing there’s people out there who truly care about helping me and my family get back on our feet…it’s just insane and still feels very unreal. I really am truly thankful and appreciate every single one of you for helping us out,” he said.
While it’s true that car theft is a serious issue (and one that has increased at an alarming rate over the past couple of years) it’s still a comfort to know that no matter the statistic, the world is full of people willing to step in and help. When egregious acts are seemingly plentiful, it becomes crucial to look at what right things are happening.
If the name wasn’t already taken, the latest video from Lucky Daye’s upcoming Candydrip Deluxe would work well for a song called “Unholy.” In reality, it’s titled “F*ckin’ Sound” and the video makes fitting use of its gospel-inspired organs and vocals and salacious subject matter thanks to a sacrilegious setting and risque, borderline NSFW action between Daye and his female costar.
He starts the video in a confessional booth, admitting to the priest, “I have sinned — I’ve never done this before.” But although the priest asks “what troubles you?” Daye’s response is anything but troubled, as he laughs at the notion of what he’s gotten away with. The rest of the video is dedicated to detailing exactly what his transgressions were. Feel free to check that out above.
The deluxe version of Candydrip doesn’t have a release date yet, but the release of its first single is well-timed to take advantage of the increased attention he’s undoubtedly receiving as a result of his multiple Grammy Award nominations. In addition to being nominated for Best R&B Album for Candydrip alongside Recording Academy mainstays like PJ Morton, Robert Glasper, and Mary J. Blige, he’s also up for a Best R&B Performance award for its single “Over,” against Beyoncé, Jazmine Sullivan, Mary J., and Muni Long.
You can watch the “F*ckin’ Sound” video up top and pre-save the deluxe version of Candydrip here.
Growing up in the harsh streets of West Philadelphia, Armani White confronted the intersection of economic scarcity and personal pride. One particularly memorable day, White was riding home from elementary school on a bike his father bought him. And when an older bully tried to take it, a fight broke out. “The way I grew up, my dad was like, ‘I don’t care what went on outside, you are not coming in this house without your bike,’” the 26-year-old rapper says. “Philly has a very stark way of deciding if you’re going to be prey or the predator. I’ll tell you one thing: no matter how the fight went, I left with that bike.”
Now, phoning in from Colorado during an off-day from opening on Jessie Reyez’s Yessie Tour, White is reaping the hard-earned rewards of a survivor’s resolve — riding the high from “Billie Eilish,” his breakthrough, menacing earworm that landed him a record deal with Def Jam in July. “I learned I’m not gonna be the one that gets bullied. I’m not gonna be the one that falls victim to circumstances and surroundings,” he says.
White has always known that he was going to fight for rap stardom. He watched Will Smith on The Fresh Prince Of Bel-Air and internalized that it was possible to represent Philly and make it out of West Philly. But his reality couldn’t be tidily presented on television.
First, White lost his uncle to gun violence. Then in 2016, he drove by his father’s house to try and mend their on-and-off relationship, only to see an emaciated man entrenched in a battle with prostate cancer. He sped off before his father spotted him, performed for the first time at The Fillmore that night, and then sat by his dad’s bedside for the next three months until his untimely passing. He has suffered through two house fires, in 2006 and 2020, that inspired his 2021 EP Things We Lost In The Fire. (Four of White’s family members died in the 2006 fire.) For White and all of Philly’s own, the city doubles as a hometown and a crash course in resilience.
“A lot of us in Philadelphia, when you just talk to someone and feel like there’s a lot of trauma, a lot of pain, there’s just a lot of layers to the city that we’ve all kind of gone through,” White says. “And if we haven’t gone through it, trauma is passed down. We found ways to make our trauma sound, feel and look beautiful. But at the end of the day, it’s still trauma.”
Beginning in fifth grade, using his first cellphone as his microphone until his mother bought him one in 10th grade, White has channeled his trauma into making what he calls “happy hood music.” It honors who Philadelphia made him through biting anecdotal lyricism. It was his way of musically redirecting before he physically could. Now, his sound is ubiquitously embraced, with “Billie Eilish” featured in TikToks by Kim Kardashian, LeBron James, Tom Brady, Odell Beckham Jr., Gabrielle Union-Wade, Paris Hilton, and more. But he’s been meticulously marinating that sound in Philly for the past decade.
In 2011, White began paying $50 an hour to record at Philadelphia’s famed (and since-closed) Batcave Studios, where city legends such as Meek Mill and Gillie Da Kid walked the halls. White recorded “Stick Up” there, his seminal 2015 single chronicling the crime on his block in head-spinning fashion that gave his career an initial spark. That day, he was “loopy” after having his wisdom teeth taken out and skipped class at Delaware State to drive to Batcave. White’s unassuming charm sticking out at the studio wasn’t an isolated incident.
“It’s cool because I’m one of the last shining stars from the Batcave era. Back then, I was just the weird kid,” he says. “Everybody was making songs about shooting each other, and I was making boom bap. It built a lot of character because I had to be the one person to champion my songs when I was in a building where everybody was like, ‘Alright, that’s kinda weird.’”
And then, a snowstorm in 2012. White had come to the studio that night with $150, enough for two or three hours of recording time, and then the weather prevented anyone from leaving. It turned into a nightlong session with engineer Don Groove. “That was the night that turned [our relationship] into, Oh, this guy really believes in me as an artist; he’s not just taking my little allowance money and pocketing it,” White says.
Groove later opened his own studio on the other side of town, Groove House, where he and White made “Billie Eilish.” White describes the environment at Groove House as family-oriented and his relationship with Groove and his other day-ones as safe. He needed that comfortability — that unspoken permission to be himself and lean into his offbeat instincts — to ambitiously sample NORE’s 2002 hit “Nothin,’” persistently pursue the clearance of that sample and the usage of Eilish’s name, and pen a life-changing hook: “B*tch, I’m stylish / Glock tucked, big t-shirt, Billie Eilish.”
The song became White’s first-ever entry on the Billboard Hot 100 in September, peaking at No. 58, and is platinum-certified in Canada. White had reached plenty of impressive milestones before “Billie Eilish,” though. Years ago at The Roots Picnic, White nervously approached Black Thought and clumsily tried to introduce himself. “I know who you are,” Black Thought interrupted — validation that White kept in his back pocket to wade through murkier stretches. White’s return to music after his father’s 2016 death was marked at the 2018 Made In America Festival, held annually in Philadelphia, and by a one-off show for 10,000 people at Colorado’s iconic Red Rocks Amphitheatre. And in 2019, he opened on Vince Staples’ 2019 Smile, You’re On Camera Tour. Last year, his Things We Lost In The Fire track “Danny Mac” was played on Power 99’s DJ Cosmic Kev.
But life is just different now.
“Billie Eilish” gets regular airplay in Philadelphia, and White’s older sister calls him every time she hears it on the radio. In 2006, White bought DJ Drama’s Gangsta Grillz Dedication 2 at the local mixtape stand on 52nd street and fanboyed over “SportsCenter”; at this year’s BET Awards, Drama praised White’s freestyle over Jack Harlow’s “First Class” beat and struck up a friendship. White’s 2022 Made In America set was anchored by “Billie Eilish,” crowdsurfing on a hot-air mattress and soaking in his city singing his song.
The first time White and I ever spoke, he called me from a Wendy’s in West Philly. It was a typical day for him. He had promised to take his mother to work, delaying a scheduled trip to New York City. Fast forward four years, Armani White can’t have nondescript days in West Philadelphia anymore.
“This one weekend in March, when [‘Billie Eilish’] first happened, I went to the grocery store down around the corner. Some guy had noticed me,” White says. “I used to ride my one-wheel up and down the city, and when I was riding it, people were yelling out, ‘Yo, Armani!’ I was going to get food, so when I get to the food spot, somebody swung they car, pulled it over, jumped out. He was like, ‘Yo, glock tucked, big t-shirt?’”
White eventually felt a little too noticeable in his neighborhood — “it’s not that many people walking around with a scarf and beads” — and didn’t like people knowing where he lived, the all-too-familiar feeling of having to look over his shoulder. He’d outgrown his city. It was time to move.
“Made it out the hood, now I’m just visiting my mama,” White sings in his August single “Diamond Dallas.” The song’s video was shot on his childhood 52nd Street block. In it, he surprises his mom with a tin bucket filled with $100,000. They ride through his old stomping grounds, experiencing their old reality from an elevated perspective. Will Smith planted the seed, but DJ Drama cemented for White that leaving Philly was necessary.
“That was a big thing that I had to understand that’s really, really hard to drill into somebody from Philly. ‘Yo, you should leave Philly,’ it’s like a foreign language,” White says. “When me and Drama talked, Drama was one of them examples of, ‘Yo, look, I left and I made it work, and who knows where I would be if I didn’t?’ It’s not that the best way is to leave. It’s just, sometimes, you gotta bring trophies home.”
White isn’t sure where he’ll settle down next, living in a sprinter van and enjoying the rockstar touring lifestyle for now, but he’ll carry Philadelphia with him wherever he goes. His entire band is from back home, and he doesn’t plan on recording anywhere else. He’s as tapped into Philadelphia music as ever, beaming at the opportunity to solidify “happy hood music” as the city’s identifying sound. He’d love to earn co-signs from Meek Mill, Lil Uzi Vert, and Jazmine Sullivan. Just as he did with his bike decades ago, he’s claiming what’s his: a boundless runway to become a Philadelphia artist worth idolizing.
“This is the first time in my life I’ve ever been the big homie,” White says. “I’m the person who gives the advice. I talk to literally anybody from Philly. My effort is never going to diminish or dismiss where I came from. It’s always going to be like, How can I give back and how can I amplify where I came from? Because the bigger platform that the city has, the bigger it is going to be when I stand on it.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Fans of the late Notorious B.I.G. (more commonly referred to as Biggie Smalls) are in for a treat. The rapper’s estate and Meta (the Facebook parent company) are coming together to honor his musical legacy with a virtual concert experience.
Sky’s The Limit: A VR Concert Experience, named after his 1997 song with R&B group 112, will feature a realistic avatar of the Brooklyn native performing several of his classic hip-hop records across his albums, Ready To Die and Life After Death. The VR experience hosted in Meta Horizon Worlds‘ “The Brook” will also take viewers on a guided tour of his childhood neighborhood.
The rapper was tragically killed 25 years ago, at the tender age of 24. As his mother Voletta Wallace’s only child, this rendering could reopen a deep wound for her, but she assured she is fully on board with the concert.
In a statement, Wallace shared, “Having the ability to create a variance of a new opportunity to showcase my son Christopher’s music through the advancement of technology is hard for me to grasp at times. However, I’ve found so much excitement in the process of developing his avatar and understanding the value added for fans to experience him in ways unattainable until now.
Wallace added, “Thank you to all who have contributed to bringing this project to fruition.”
Neither lifelong collaborator Diddy nor ex-wife Faith Evans (mother to his son C. J. Wallace) have issued a comment.
The Notorious B.I.G. Sky’s The Limit: A VR Concert Experience is set to premiere on December 16. To reserve access, click here.
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