Jason Sudeikis apparently wasn’t the only one who Olivia Wilde dumped for Harry Styles. Her golden retriever Gordon reportedly got the boot, too. That’s according to part deux of The Daily Mail’s interview with Wilde and Sudeikis’ former nanny, who has gone scorched Earth on her former employers.
While the rest of the world is trying to figure out what the hell is in Wilde’s special salad dressing — besides sorcery (and it came from Nora Ephron!) — The Mail went ahead and dropped some other alleged bombshells from the couple’s former employee and seeming confidante. In addition to stating that Wilde was sending some, well, wildly mixed messages to Sudeikis by dumping him on November 8 but then regularly returning home and telling the former SNL star that she loved him, she reportedly decided to get rid of her dog just weeks after getting together with Styles in order to have even more time to spend with the former boy bander.
Per the nanny, Gordon was rehomed with his dog walker — though her comments didn’t paint Sudeikis in the best light either. As she told The Mail:
“After [Wilde] left [at the start of November 2020], she came for a visit and said, ‘We have to find Gordon a new home,’ nonchalantly. Jason doesn’t really care for animals and wanted him out of their home ASAP. Jason said Olivia only had the dog for appearances anyway. She rarely cared for Gordon or Paco, the dog she had before. It was myself and others who cared for the dogs. I told Jason I knew somebody who loves Gordon and was willing to take him in so Jason said, ‘Let’s get him out of here right away.’”
Before we discuss The Car — the seventh Arctic Monkeys album out Friday — let’s review the band’s recent history in order to understand how we got here. Buckle up: It’s an arduous and convoluted trek across three records and at least as many different personas.
In 2013, they put out their fifth LP, AM. It begins with a song, “Do I Wanna Know?,” that goes on to be streamed (to date) nearly 1.5 billion times on Spotify, making it the most culturally relevant rock track of the last 10 years. The following year, Arctic Monkeys win Album Of The Year at the Brit Awards. Upon accepting the trophy, Alex Turner makes a smirking, self-congratulatory speech about how rock ‘n’ roll will always “make its way back through the sludge” in order to “smash through the glass ceiling, looking better than ever.” It is not clear if he really means this, or if he is merely playing a “charismatically louche” character. Either way, in that moment, he is indisputably the biggest British rock star of his generation.
Four years later, Arctic Monkeys put out their sixth album, Tranquility Base Hotel + Casino. It does not sound like AM. Nor does it sound like rock ‘n’ smashing through a glass ceiling. Turner no longer resembles a sexed-up nü-Fonzie who makes music appropriate for barbecue restaurants and medium-shelf rum commercials. Instead, he produces a record of hilariously surreal sci-fi torch songs. Tranquility Base is a Kubrickian black comedy in which the sensibility of Dr. Strangelove is transposed on 2001. Predictably, a lot of people hate it. Others, however, consider it the best album of 2018.
This brings us to The Car. Anyone who listens to this album once will instantly compare it to the previous Arctic Monkeys LP. This is not entirely unfounded. As was the case with Tranquility, The Car is fashioned in large part by Turner, by himself, away from the band. He writes alone, plays and records most of the instrumentation alone, and then reworks what he’s done alone. Only at the end of the process does he bring in the other three guys. The inevitable result is that Tranquility Base and The Car both sound like solo records released under a highly bankable brand.
What’s most shocking about The Car is that it proves Tranquility Base was not an experiment — that record marked what is currently a prolonged turn away from rock music. Turner has instead delved deep into 1960s West Coast pop and ’70s porno funk. At the risk of making an overly obvious comparison, The Car is Arctic Monkeys’ Young Americans, a British take on American Black music that manages to express a purely European point of view.
All of this is true, but it doesn’t tell the whole story. It doesn’t account for how the two most recent Arctic Monkeys records feel. They feel very different. Tranquility Base is chilly and overtly comedic; The Car is warmer and also sadder. The sixth record is obsessed with a fictional future (though it feels less fictional four years later); the seventh album is focused on a real (though exaggerated) past. The result is that the former signifies visionary outrageousness while the latter exudes romantic melancholy.
Turner once tried to reinvent his band; now he seems to have outgrown it. The predecessor was a surprising chapter; the new one feels like an ending. The sludge has not been transcended; it now is home.
I understand that for many people who love the first five Arctic Monkeys records — especially AM, by far their most popular in America — this might all come across as disappointing and even frustrating. For this audience, a word of advice: Assume that the band who made AM is dead and buried, and might not be coming back. Not literally (at least not at this point), but certainly in practice. Think back to the classic opening lyric from Tranquility Base: “I just wanted to be one of The Strokes / now look at the mess you made me make.” What came across as a joke before can now be taken at face value. Wanting to be like one of The Strokes is a past-tense aspiration for Turner. These last two records are him experiencing the afterlife of that, and sorting through the leftover detritus.
Getting to the bottom of this requires doing your own sifting through wah-wah guitars, foggy string sections, and reams of absurdist non-sequiturs. The heart of The Car resides between those lines. On the slinky “Jet Skis On The Moat,” Turner purrs, “When it’s over, you’re supposed to know.” Amid the dead-eyed Muzak of “Big Ideas,” one of several tracks that uses old-timey show business allusions as metaphors for exhausted relationships, he imagines producing a film called “The Ballad Of What Could Have Been.” The wistful retro pop tune “Mr. Schwartz” reiterates that idea, with Turner concluding that it’s “as fine a time as any to deduce the fact that neither you or I has ever had a clue.”
When The Car does drift into rock, the record receives a necessary jolt. The lounge-y “Body Paint” deals in references to ancient songs by Elvis Presley and Gerry And The Pacemakers before radically shifting to a rousing Mott The Hoople-style glam-rock climax, an “All The Young Dudes” for dudes who are no longer young. There is no sense of uplift on the title track, the album’s best song, in which cloudy orchestral folk flourishes give way to a tortured guitar solo. But it does function as The Car‘s emotional center. “Thinking about how funny I must look trying to adjust to what’s been there all along,” Turner sings, sounding nothing like the cocksure superstar who accepted that Brit Award eight years ago, but rather a 36-year-old man who used to play that guy on TV.
Reading rock lyrics as tea leaves spelling out a band’s future existence is an easy way to embarrass yourself. I’m not suggesting that Turner is on the verge of breaking up the band and going out officially on his own. But what seems clear is that Turner has definitively moved on from his most commercially successful guise, and is now fully invested in his post-rock star career. And in the process he’s written some of his wittiest and wisest tunes. “Is that vague sense of longing kinda trying to cause a scene?” he sings on The Car‘s most dread-inducing number, “Sculptures Of Anything Goes.” These days for Arctic Monkeys, it’s more about the longing than the scene.
Matthew Perry was on one of the biggest shows on television, but in his upcoming memoir, he reveals the addiction issues he was dealing with behind the scenes. The Friends actor, who played Chandler Bing on the NBC sitcom, told People that he waited to write Friends, Lovers, and the Big Terrible Thing: A Memoir “until I was pretty safely sober — and away from the active disease of alcoholism and addiction — to write it all down. And the main thing was, I was pretty certain that it would help people.”
In the book, Perry writes, “If you gauge my weight from season to season — when I’m carrying weight, it’s alcohol; when I am skinny, it’s pills. When I have a goatee, it’s lots of pills.” Things got so bad for Perry, 53, that he nearly died four years ago.
Publicly acknowledging at the time that he suffered from a gastrointestinal perforation, the actor had actually spent weeks fighting for his life after his colon burst from opioid overuse. He spent two weeks in a coma and five months in the hospital and had to use a colostomy bag for nine months.
Doctors told Perry’s family that he had “a two percent chance to live,” he recalled. “I was put on a thing called an ECMO machine, which does all the breathing for your heart and your lungs. And that’s called a Hail Mary. No one survives that.” But Perry, who has been to rehab 15 times, did survive and he’s “pretty healthy now.” He then joked, “I’ve got to not go to the gym much more, because I don’t want to only be able to play superheroes.”
Friends, Lovers, and the Big Terrible Thing: A Memoir comes out on November 1.
Ahead of her upcoming fashion show, Savage X Fenty, Vol. 4, Rihanna has announced the launch of Savage X Fenty Sport. Her collection of lingerie-inspired sportswear is set to arrive in tandem with Savage X Fenty, Vol. 4 next month.
In an interview with Vogue, Rihanna spoke about working with designer Adam Selman to create a collection of sportswear designed for the day-to-day.
“I was inspired by everyday life. Everything is a sport. Being pregnant is a sport,” Rihanna said. “For me, it was about fit and fabric, and I let Adam play with everything else. The pieces are sexy and snatch you, but it’s functional and that’s what describes the whole Sport collection. Sexy. Functional. Fashion.”
Rihanna appointed Selman to be Savage X Fenty sport’s executive design director. Some of Rihanna and Selman’s sportswear includes brassieres, leggings, and unitards, all designed to be form-fitting.
“We wanted to create something unique and bold that can speak to the existing customers,” said Selman, “but also open up a whole new realm of possibilities for us.”
Savage X Fenty Sport, along with the new collection of Savage X Fenty, will be available for purchase on the Savage X Fenty website, as well as the Amazon Fashion Store.
Check out a sneak peek of the collection in a clip above.
Savage X Fenty, Vol. 4 streams 11/9 on Prime Video.
Russell Westbrook found himself in the Los Angeles Lakers‘ starting lineup on Tuesday night during the team’s season opener against the Golden State Warriors. This came on the heels of Westbrook coming off the bench in the team’s preseason finale, an option that has been mentioned as a possibility throughout the offseason.
The preseason experiment didn’t go great, as Westbrook came off the bench and played five minutes before tweaking his hamstring and leaving the game. Following the regular season opener, Westbrook got asked what happened with his hamstring and made clear that he thought his injury was related to not being among the team’s starters.
Asked by @DanWoikeSports whether he thinks that coming off the bench and breaking from his normal routine could have influenced his hamstring injury in Sacramento, Russell Westbrook said “absolutely,” and said he wasn’t sure how to stay warm once the game started: pic.twitter.com/L4oYmp8D73
“Absolutely,” Westbrook said when asked if the change in routine contributed to his injury. “I’ve been doing the same thing for 14 years straight. Honestly, I didn’t even know what to do pregame — being honest, I was trying to figure out [how] to stay warm and loose. Obviously, the way I play the game, fast-paced, quick, stop and go, and when I subbed in, I felt something that was, you know, didn’t know what it was but I wasn’t gonna risk it in a preseason game.”
This is not the first time that Westbrook has said a change in his routine has led to him suffering an injury. Last season, Westbrook’s back tightened up, which he thought was related to sitting for long stretches.
Cardi B is back to court for a trial that started yesterday in California. The Bronx rapper is being sued for $5 million over the sexually explicit cover of her 2016 debut mixtape, Gangsta B*tch Music, Vol. 1. The copyright infringement case, filed by Kevin Michael Brophy Jr., alleges that Cardi used a photo of his back tattoo for the cover without permission or compensation. He originally filed a complaint in 2017, trying to get her to change the cover for five years.
While the man pictured on Cardi B’s mixtape cover isn’t Brophy Jr., his lawyer claims that as a husband and father, he has suffered emotional distress from the resemblance to his back tattoo. The lawyer also alleges that photo editing programs were used to overlay it onto the male model on Cardi’s cover. According to ABC News, Brophy Jr.’s tattoo has been featured in magazines as a significant design.
“The mixtape photo was never sold separately, never used in merchandise, and the mixtape was being released free of charge for much of its ‘life,’” Cardi B noted in the court documents, according to Yahoo! News, as she had been trying to get the judge to dismiss the case prior to going to a trial.
“It felt like my Michelangelo was stolen off a wall and literally ripped off, robbed, and put where ever these people wanted to put it,” Brophy Jr. testified in court yesterday. “This was a long journey to get this tattoo. It took a lot of commitment. To see it in this light was a complete slap in the face and a complete disrespect to me and my family.”
Read more about the first day of Cardi B’s trial from a legal-focused Twitter thread below.
Cappello says Brophy has been trying to get Cardi and her crew to take his picture off the album for five years. She won’t do it, and he fears as his kids get older they’ll come across the album cover and think it’s their dad because the tattoo is so noticeable and unique.
Blink-182 is back. Well, they didn’t really leave, but the version of the band featuring Tom DeLonge is back, as he recently returned to the group. They solidified his renewed presence in the band with “Edging,” a comeback single. They dropped a video for the song last week and now they’re back with an alternate version of it.
The new video has some minor shifts, like a different clip of Travis Barker playing the song’s drum intro, for example. The most immediate change is cameos from Lil Tracy and video director Cole Bennett to start the video. The two wear rabbit costumes, minus the heads, as Tracy smokes and says to Bennett, “It’s time to get back to work, bro.” There’s an also extended outro featuring the rabbit characters doing a little dance.
Barker, who produced the song, previously said of it, “I wanted to imagine as a listener what I wanted to experience and at the same time as a band member what we wanted to make and say, and most importantly how it would sound production-wise in 2022.” Hoppus added, “I’m so happy to be back in the studio creating new music and looking forward to a giant world tour.”
This past summer, Liam Gallagher played some massive concerts at the UK’s Knebworth Park venue, 26 years after Oasis played memorable shows there. It was a big deal, so much so that the occasion is being documented in a new film, Knebworth 22. Starting November 17, the film will hit UK theaters for a limited time.
He said in a statement, “I’m still in shock that I got to play Knebworth 2 nights, 26 years after I played it with Oasis. I’m still trying to get my head around it. To have played to multiple generations at the same venue so many years apart was beyond Biblical. I’m so glad that we documented it. Knebworth for me was and always will be a celebration of the fans as well as the music. Enjoy the film and let’s do it again in another 26 years. LG x.”
There’s a problem, though: Liam says his brother and former Oasis bandmate Noel Gallagher is blocking Oasis songs from being used in the film.
Liam tweeted today, “No oasis songs as the angry squirt has blocked them he also blocked the oasis I sang for Taylor Hawkins tribute he’s a horrible little man.” He added in another tweet, “It’s the only but of power he’s got left he knows he’s coasting into the oblivious.” Meanwhile, somebody asked, “Is Noel Gallagher still a thing,” and Liam responded, “Yes a SAD LITTLE THING.”
No oasis songs as the angry squirt has blocked them he also blocked the oasis I sang for Taylor Hawkins tribute he’s a horrible little man
Just when you thought Don’t Worry Darling was all out of drama: ha. Last week, director Olivia Wilde, who reportedly got into a screaming match with star Florence Pugh on the set of scandal-plagued film, protested the media’s attention to the sex scenes. She also seemed to blame “misogyny” for Don’t Worry Darling landing with a thud at the box office — and then there’s the whole nanny thing.
Wilde and ex-husband Jason Sudeikis’ former-nanny told the Daily Mail that the Ted Lasso star was infuriated by Wilde “preparing a salad” with her “special dressing” for Harry Styles, who she would later end up dating. “The night she left with her salad, Jason had chased after her, videotaping her in the house,” the nanny said. “So then, Jason went outside and lay under her car so she wouldn’t leave. She got in her car to back up, he lay under her car so she wouldn’t leave. She went back into the house and he went in, it was back and forth. He said he was doing it on purpose to make her late going to see Harry.” Sudeikis allegedly told the nanny, “She made this salad and she made her special dressing and she’s leaving with her salad to have dinner with [Harry].”
Wilde and Sudeikis vehemently deny the “scurrilous” claims, calling them an “18-month-long campaign of harassing us, as well as loved ones, close friends, and colleagues, [that] has reached its unfortunate apex.” But Wilde also took to Instagram to share the infamous salad dressing recipe, which comes from Nora Ephron’s Heartburn, the 1983 autobiographical novel based on her marriage to and divorce from Carl Bernstein.
Last night (October 18), Lil Nas X had a concert at Inglewood’s YouTube Theater. Before the show, though, he took to Twitter to drum up some excitement for the show with some promo, offering fans the opportunity of a lifetime: “for everyone coming to my show tonight in los angeles i will be c*mming on 3 lucky fans for my c*m on a fan contest,” he tweeted.
for everyone coming to my show tonight in los angeles i will be cumming on 3 lucky fans for my cum on a fan contest
Of course, the rapper was joking, backed up by the fact that there were no reports of any bodily functions of that sort at the show.
He continued to have fun with the bit, though, like when he shared a clip of Francine from Arthur saying, “Squirting contest! Let’s see who can squirt the farthest.” Nas captioned the post, “me at my concert tonight.”
The rapper also shared a screenshot of two tweets from a fan. The first was a quote-tweet of Nas’ original tweet with the fan writing, “That’s f*cking disgusting… ….” They quickly followed up, “anyone got any extra tickets to the Lil Nas X concert in Los Angeles tonight?”
Nas has more fun on Twitter than just about any musician, like earlier this month when he responded to a report of him asking fans to stop using drugs at his shows: “aht aht- i said stop doing poppers. cuz ya asshole don’t need to be open while i sing my depression album cuts. if yall wanna do weed, molly, shrooms, paint, gasoline ect. knock yourselves tf out.”
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olivia wilde gave us her salad dressing recipe which is from nora ephron