Chip ‘n Dale: Rescue Rangers, the new Andy Samberg and John Mulaney movie, made its debut on Disney+ today. Earlier this month, it was revealed that Post Malone got involved with the project by recording the movie’s theme song. Now that the film is out, so too is Malone’s theme. The tune is an approximation of Malone’s melodic pop-rap sound with hints of a rock influence here and there. Malone’s song isn’t actually an original, but rather a cover of The Jets’ theme song for the 1989 Chip ‘n Dale: Rescue Rangers animated series.

Beyond Rescue Rangers, Malone has plenty of experience with lending his musical talents to the big screen. The most prominent example of that is his and Swae Lee’s 2018 single “Sunflower,” the No. 1 single appeared on Malone’s album Hollywood’s Bleeding after first gracing the Spider-Man: Into The Spider-Verse soundtrack. Meanwhile, last year saw Posty cover Hootie And The Blowfish’s 1995 hit “Only Wanna Be With You” as part of Pokémon‘s 25th anniversary celebration. Hootie’s Darius Rucker admired the cover, as he tweeted, “The smile in my face will not leave for a long time. This is awesome. My bro @PostMalone bringing it. Hell yes man!!!!!!!!!”

Listen to Malone’s “Chip ‘n Dale Rescue Rangers Theme” above. Also check out the original Rescue Rangers theme song from 1989 below.

Alex Jones might be facing crippling bankruptcy from the lawsuit filed against him by the Sandy Hook families, but if you think that’s going to stop him from pushing wild conspiracy theories, think again. On a recent episode of InfoWars, Jones accused an unnamed and nebulous cohort of “globalists” of shrinking men’s penises through a chemical in the “liners of soft drink cans.” Just go ahead and sit with that for a minute, and yes, it’s fair to wonder if Jones is trying to tell us something here.

In the bizarre rant, Jones claims that penises are a “third the size they were in the 1960s,” which raises all questions of where Jones got that number and the research involved. He also warned that in the future, dongs won’t even exist, and it’s nothing to joke about. This is serious business.

Via Ron Filipkowski on Twitter:

That’s why genitals — I don’t care if you’re Black or white — are a third the size they were in the 1960s. So the media makes jokes about that a few months ago, and I gave you an examples of. So, you know, if your daddy’s Johnson was a foot long, yours is six inches long. And if yours was six inches, your son’s will be three inches, and on from there they won’t even have a penis! We can make jokes about that all day long, but this isn’t a game. And you can say ‘OK, well who cares?’ Well, we’re sterilized, and the sperm counts are down 96%.

It should be noted that there’s a potential method to Jones’ madness. The frothing podcast host has been ranting recently that his viewers aren’t buying enough InfoWars products while his media empire is on the brink of collapse. And just what “amazing” products does InfoWars sell? Health products that make your body a super immune fortress, of course. Why worry about a vast, shadowy conspiracy to shrink your penis vis-à-vis cans of Sprite, when you can just sprinkle Jones’ miracle powder in your coffee and go about your day, hanging low and strong. That’s the ticket!

(Via Ron Filipkowski on Twitter)

If there’s only one word to describe Cardi B, “outspoken” might be it. Whether it is the unbridled confidence she brings to her music or her social media interactions, the Bronx artist is never afraid to say what is on her mind. Where some public figures use that characteristic to disrupt, the “Bodak Yellow” artist opts to contribute her thoughts to everything from the WWE to the political climate of the country and world. So, the Grammy winner sat down with David Letterman in the newly released fourth season of his Netflix series My Next Guest Needs No Introduction to discuss her responsibility to speak on political matters and keep it separate from her music.

“I don’t really put a lot of political things in my music, but I used the f*ck out of my platform,” she tells the talk show legend. “And I have used my platform even when I was a dancer. Because you might think that people are not looking, but they are.”

Cardi B has made it a point to meet with both Senator Bernie Sanders and President Joe Biden in the last few years, which Letterman admired due to how it can impact her fans.

“I mean, I’m a hood chick, and I’m from the Bronx. A lot of people relate to me and follow me because they want to see how I’m dressed, they want to see my lifestyle. I feel like I have a responsibility to also share to them like, ‘Hey, while you here and you’re checking my outfit and checking my music, check out what’s going on over here in this part of the world.’”

Letterman’s fourth season of My Next Guest Needs No Introduction also features Billie Eilish, Kevin Durant, Julia Louis-Dreyfus, Ryan Reynolds, and Will Smith (whose appearance was filmed pre-slap).

Check out a clip of Cardi B’s episode above.

Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

The best new hip-hop this week includes albums, videos, and songs from Babyface Ray, Toosii, Stunna 4 Vegas, and more.

I’m back and I’m better. We made it through Kendrick Lamar week, and though the conversations stemming from that album are far from done, here’s some new hip-hop music for you to tap into in case “Father Time” is dragging you down too much.

Here is the best of hip-hop this week ending May 20, 2022.

Albums/EPs/Mixtapes

Babyface Ray — Face (Deluxe)

Babyface Ray’s January release of Face was well-received, and the Detroit rapper is back with eight new tracks. Veeze, Lucki, Lil Yachty, and DJ Esco add their flavor to an already loaded album that should carry Babyface’s momentum strongly through the rest of 2022.

Hit-Boy x Dreezy — Hitgirl

Dreezy sets the singing aside for a full project produced by the man whose phone definitely won’t stop ringing for beats, Hit-Boy. This will mark Hit’s first time doing a collaborative project with a woman, and together they’ve got something special in store with appearances from Future, Jeremih, Coi Leray, and Ink. Something tells me that the “Jackson 5” record may be the talk of the album.

Stunna 4 Vegas — Raw Rae’s Son

Stunna 4 Vegas hadn’t released a project since 2020’s Welcome To 4 Vegas, but the three singles released this year (“Suspect,” “The One,” and “Pay Me To Speak” made it clear the North Carolina rapper was gearing up to make a splash. His latest album Rae Rae’s Son features Icewear Vezzo, Spinabenz, and YRB Tezz, but Stunna is here to command the show on his own for the most part.

Lil Gnar — Die Bout It

Lil Gnar assembled an all-star slate of talent for Die Bout it. The late Lil Keed, Yak Gotti, Trippie Redd, Chief Keef, Lil Uzi Vert, and more rappers join the young rap-rock talent hailing from Atlanta.

Bigbabygucci — Sour & Syrup

Though the title may seem self-explanatory, Bigbabyguccci opting for a completely solo outing on Soda & Syrup may be an indicator he’s got more to talk about than what many would assume. This is his ninth studio album and second release of 2022, so the substances he partakes in clearly aren’t stopping his work ethic.

Singles/Videos

Maxo Kream — “Jigga Dame”

Maxo Kream loves a good simile. On “Jigga Dame” he references meetings he has with Hov in addition to how he breaks bread with his homies like Jay-Z and Dame Dash once did. Aside from the lyrical gymnastics, he spends the video flexing his money, showing show footage, and having a blast with previous collaborator Tyler, The Creator.

Fredo Bang — “Dead Man”

Fredo Bang skates over the menacing production of “Dead Man” with ease, parading around Chicago and doing his best Rev Run impression only instead of scrolling a Blackberry in his bathtub, he’s using a money phone. It’s Chicago to the fullest, with violent bars and a cameo appearance from Lil Durk.

Toosii — “Secrets”

Toosii approaches “Secrets” with a very earnest nature, reflecting on heartbreak and how he doesn’t want his current partner to leave but is too prideful to admit it. The visual shows the young rapper having the time of his life performing at shows, further emphasizing the dualistic nature of having everything he could ever want but still being affected by matters of the heart.

Kamaiyah ft. Da Boii — “F.W.I”

West Coaster Kamaiyah brings the lucid, upbeat vibe we love from that side of the country in the new “F.W.I” video. Da Boii matches the energy, saying him going broke is a bad dream. Looking at the cars and jewelry adorning the video, going broke more so seems unlikely than like a bad dream.

Lupe Fiasco ft. Nayirah — “Autoboto”

Lupe Fiasco shows he can rap over everything, taking on the fast tempo of “Autoboto” and doubling up his flow. The ease in which he spits certainly strengthens his assertion in the chorus that “This is sport.”

Deante Hitchcock — “Callin” and “All My Children”

Deante Hitchcock dropped off a two-pack in new songs “Callin” and “All My Children.” The former samples Jodeci’s “Come & Talk To Me” plus a surprise feature from Westside Boogie where both rappers discuss the ups and downs of their relationships. The latter is a solo effort by Hitchcock, where it sounds like he’s rapping for his life while asserting his place in the game: the father of many. “Y’all just not as good, I mean I’m new to fatherhood but that sh*t been apparent.” is one of the many examples of fun wordplay he employs.

Your Old Droog — “Go To Sleep”

Your Old Droog has a simple, relatable message here: sometimes the best option is sleeping. Life demands a lot from the man, from chasing women to paper chasing. With all of that hard work, rest is a much larger priority and this is a refreshing take from what rap typically advocates for. Apologies to the “No Sleep, Just Grind” demographic out there.

Funkmaster Flex ft. Bobby Shmurda — “Hitta”

After hearing “Hitta,” it makes me wish Bobby Shmurda freestyled over the “Hard In The Paint” beat sooner. There’s clear chemistry between his aggressive rap style and the energy of the classic record’s production. No New York City venue would be safe if Bobby performed this. Perhaps my wish not happening is for the best. There’s still time.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

As one of the biggest yet most elusive rappers of our time, Kendrick Lamar dominates pop culture whenever he releases new music. But did his latest album Mr. Morale & The Big Steppers live up to the hype? On this week’s Indiecast, hosts Steven Hyden and Ian Cohen share their thoughts on the undeniably fascinating album and wonder if the rapper’s name alone will secure him a spot on Album Of The Year lists.

In terms of music news this week, Indiecast discusses the other much-anticipated album this week: Harry Styles’ Harry’s House. Steven and Ian also talk about the Billboard Music Awards‘ attempt to “uncancel the canceled” musicians and a contentious article that examined Taylor Hawkins’ final days.

In the Recommendation Corner, Ian gives a shout-out to Gospel, a hardcore NYC band who just dropped their first album in 17 years. Meanwhile, Steven recommends listeners to check out the South Korean indie rockers Say Sue Me, whose new album The Last Thing Left sounds like a mix of Mazzy Star and Pavement.

New episodes of Indiecast drop every Friday. Listen to Episode 89 below, 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 Twitter for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

“I kept noticing that whenever anything happened in the news, his name would start trending and you would go on Twitter and he would have the perfect routine to comment on something that had happened in the news,” said director Judd Apatow when we spoke recently about his new two-part documentary on the life of George Carlin, George Carlin’s American Dream, which premieres on HBO and HBO Max May 20.

What’s most remarkable about Carlin may not be his unheard-of staying power 14 years after his death, though, it may be how he continued to innovate and reinvent himself over a 50+ year career to get to the point where his words and memory would carry so much weight with so many people; something Apatow explores thoroughly here while exploring the drive, complexity, and artistry of the man as well as the impact on and influence of his family life. A remarkable, oft-ignored side that pushes this documentary from mere comedy nerd nirvana to something greater.

Apatow is quick to praise Carlin’s daughter, Kelly, for her determination to help him tell a story about her family that is clear and unsparing, never tawdry but also never candy-coated. To keep things more in the Carlin vernacular, it’s no bullshit.

We spoke with Apatow about telling this story without bias or in service to choices that might make this all feel saccharine. We also discussed Carlin’s career, a point when he was mocked as outdated, his determination to keep getting better, and the heart behind his late-career hard edge.
The way that some of the clips were cut together, I don’t think I’ve pumped my fist as much to a documentary since like The Last Dance. It was just really exciting to see. It was just really great work.

[Laughs] Thank you.

Is it easier to do something like this where you don’t have a personal connection like you did with Garry Shandling?

I think the key to making these documentaries is that there are people who are willing to be completely honest about the true story of what happened. I think a lot of times there are people who want to protect the subject of a documentary, and in ways that people don’t understand a lot of it is watered down. People avoid certain moments in performers’ lives, where maybe their behavior was questionable or maybe there’s something that the family is embarrassed about. I was very lucky that Kelly Carlin [George Carlin’s daughter] was adamant that we told the truth.

When making the Garry documentary, is that something you found yourself subconsciously doing? Protecting certain things or pulling back in certain ways that you would not have in something like this when you don’t have that much personal connection or understanding?

It’s not so much that you’re trying to protect someone, it’s that you’re worried about emphasizing something too much. So with Garry, he had several lawsuits, some where he was being sued and some where he was suing people. And you can change what the audience thinks about a conflict based on removing an image or one thing that somebody said. It’s so easy to take a side. I think in the old documentaries, whether you like it or not, whether you want to or not, you do by the choices you make. And we just spent untold hours trying to figure out how to present things in the most truthful way. It’s very difficult. It’s like if you were making a documentary about JFK, are you going to say he was the best president ever? Are you going to show what went wrong? And there are thousands of choices that affect that.

Carlin’s politics were pretty clear, but he did seem like someone who was angry at everyone equally, or maybe not equally. But angry at politicians on both sides of the fence. Whereas now there definitely seems to be more of a slant. Is that where his power comes from, that level of anger at both sides?

Well, he definitely distrusted power. But he also said he liked individuals, he didn’t like groups. You know, he said, “When people form groups pretty soon they’re wearing hats.” He had a lot of criticism for both sides of the political spectrum, but he made it very clear that he thought that Democrats were concerned about people and Republicans were concerned about stuff. And he certainly had a lot of progressive points of view. At the same time, he really distrusted the government because he felt like it had been co-opted by big business. And that there were a lot of people running things whose interests were not the same as the citizens of the country.

It’s just shocking watching the documentary and coming across the “America The Beautiful” song that he sang in 1972 or 1973 and realizing how much it all still applies. Shouting into a bullhorn and people just not hearing — was that part of what led to some of his frustration?

Well, I think he was somebody that had more hope in the late sixties and the early seventies that good things would happen as a result of protests and people speaking up and paying attention. And then later in his life, he realized that even though people had been given the opportunity to treat each other better and treat the earth better, they didn’t.

Then his comedy came from a different, much darker stance, which is, “You people have ruined the world, so I’m just going to observe it and laugh as it goes down in flames.” And I always felt that the reason why he did that was, as a way of slapping you in the face to say, “Wake up.” He got so dark that your reaction would either be, “I agree,” or “No, I don’t agree. I want to do something about it.” You know, it is an older man’s way of saying, “Hey, it’s your turn.”

Was that your view of it when it was happening?

It was, it was. I always thought there was a big heart behind it. And he decided to take a very strong comedic stance, but I never for a second thought that he would ever want one person to suffer in any way. It was a way to exaggerate everything, to get people to look at how awful certain things were and hopefully to make a choice to treat each other better.

Going into this and going through all these materials, diaries, journals, and things — what was the biggest revelation for you?

Well, what I connected to emotionally was that he met his wife, Brenda, when he was working at a comedy club, and she was an employee there. They got married a few months later, and he was completely broke. We found a letter where they were writing her parents because they had $7 in the bank. And a lot of this story is about this relationship. And also about a woman in the sixties and seventies who had a husband who left town to work and [she] was left alone and didn’t see the possibility of pursuing her own dreams for a long time. And they both fell into terrible addiction. And how they climbed out of it and stayed together until her death. Kelly Carlin was so honest about what it was like to grow up in that type of house that was going through so many struggles.

I wasn’t aware of how much he was kind of dragged at one point in the eighties. Was that something that you were aware of at the time, that he had kind of fallen out of vogue and become uncool?

I don’t think I realized in that period that anyone considered him uncool. When I would see SCTV rake someone over the coals, I always thought, “That’s the point of SCTV.” They made fun of everyone. So it didn’t seem especially specific or cruel. But when you are the subject of it and people are looking at what you’re doing and finding what’s funny about it, it’s certainly painful.

I think it’s more like a musician who put out five great albums and then people are wondering why six is weaker. It’s very hard to keep up that quality. And he had been at it for a long time at that point, 15 years or so. And he was addicted to cocaine, and it’s hard to continue to do your best work in that mode. And the culture moves on, and suddenly Steve Martin arrives and Andy Kaufman and Richard Pryor is peeking. And you realize, “I’m not at the top of this form.” But what’s amazing about George Carlin is he takes a breath and says, “Okay, I have to get better.” And he did that a few times in his life. He didn’t look at it like, “Oh no, the world was passing me by.” He said, “I need to do the work.”

The ability to not just dominate, but then to drop and then rise back up. To use the Jordan reference again, Jordan not being able to dominate in the paint, becoming somebody with more of an outside shot. Ali finding ways to fight as he got older.

It’s like, Bob Dylan putting out Time Out Of Mind.

Yeah. Adaptability is, to me, the defining aspect of greatness. Would you agree?

Yes, because he never looked at it like some people do, which is, “I guess that was my time. And now I’ll coast.” You know, he saw Sam Kinison and thought, “I’m not going to eat this guy’s dust.” That’s what he said. And he spent the rest of his life trying to out-Kinison Kinison. And it’s really remarkable, the energy and the focus he put into improving and going deeper. That’s very rare. It reminds me of Sydney Lumet directing Until The Devil Knows You’re Dead when he was 80. And it was so edgy and incredible. It’s such an inspiration for me, people who just keep looking for ways to get better.

Are you looking to do more documentaries down the road?

I’m going to do more. I like documentaries, I find them a lot less stressful. Because when you write jokes, you just never know if they’re going to work. So in a way you’re just scared all the time. You know, if you make a TV show or movie, you don’t know how people react. But with a documentary, you’re in a constant exploration of everything somebody left behind. And you’re trying to find a way to put it together, to tell the story of their life. And you feel a responsibility to do it well, but it’s not that terror of a joke bombing.

Is that responsibility solely the idea of getting it right? Or is it also the idea of, “This is a signal into the future, this is something that helps to preserve this person so I want to get it right?”

Yes. I feel like, when these types of movies exist, they are the path in for people to discover an artist. You know, one of my favorite ones was the two-part Martin Scorsese/Bob Dylan documentary. He also did an incredible one about George Harrison. I think that in the future, when people have been drowned under millions more hours of content, they will discover who they want to learn about through documentaries. So someone will watch the Bob Dylan documentary, maybe even before they go deep into listening to all of his music. And I think to have your life and career organized in that way, creates a possibility that someone will watch The Larry Sanders Show or watch the George Carlin specials, because they have some sense of the environment they were made in.

I don’t want to fracture your worldview, but that seems like a hell of a lot more pressure than just if a joke is funny.

[Laughs] Well, it’s less pressure because George made all those specials. He left behind all these interviews. He left behind 23 hours of conversations that he made in order to write his autobiography. All the brilliance is there. It’s just me finding a way to present it logically and in a way where it reaches you and moves you. But the raw materials are great.

Judd Apatow’s two-part ‘George Carlin’s American Dream’ documentary releases on May 20 on HBO Max and on consecutive nights on HBO with Part one on May 20 and Part two May 21

The internet has been mad at Cara Delevingne, whose weird behavior at the Billboard Music Awards made headlines. This ranged from laying on the floor to take a picture of Doja Cat, DJ Khaled, and Fat Joe that ended up being a pretty low-quality photo, to playing with Megan Thee Stallion’s dress on the red carpet. Though Delevingne is practically known for her weird, eccentric presence, she was accused of fetishizing Black women.

In a surprising turn of events, Azealia Banks, after having a fan reach out and ask about the situation, came to Delevingne’s defense on Twitter.

She wrote, “Cara doesn’t have an obsession with with black women. It’s that upper crust English society full of fake white and jealous white hoes who were never as charismatic as she is that made fake friendships, tried sabotaging her every which way she moved and the intense jealousy. Of her older and extremely plain looking sister poppy that always made Cara feel sad and lonely. Poppy would always say mad back handed slick sh*t and tell Cara’s business to people in the industry and I always remember Cara literally traveling the world completely alone 4 years.”

She continued: “Lots of English society/media took advantage of that and there were plenty of times I would just hide Cara in my apartment for days at a time to make sure she got some deep sleep and some actual food and wasn’t just thrown out amongst the wolves like that. Everyone always wanted to use Cara for what they could get from her, and luckily for her – none of them got anything substantial. deep down I could tell she was (like me) so used to being told ur a bad person that she began to believe those things about her self and go out of her. Way to please people who saw her as an easy route to some fashion/British society clout… all of which they fumbled in the grand scheme of things. Cara and I just did normal stuff like dress up like mermaids, smoke spliffs and take naps. That’s my girl thru and thru.”

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Nipsey Hussle’s death shook up the world three years ago and every effort to honor his legacy has provided some needed comfort or joy. The latest piece of content surrounding the late Los Angeles native comes in the form of a YouTube documentary called The Marathon (Cultivation), which follows the Victory Lap artist throughout the process of he and his brother, Samiel Asghedom, developing their own marijuana strain called Marathon OG. The documentary arrives just under a month preceding the June 18 opening of The Marathon (Collective), a cannabis retail store in Los Angeles.

Though he is not here with us physically, rappers, celebrities and companies at every turn have paid homage to the trailblazer and kept his memory alive. Hussle posthumously earned two Grammy awards in 2020 for “Racks In The Middle” (Best Rap Performance) with Hit-Boy and Roddy Ricch, and DJ Khaled’s “Higher” (Best Rap/Sung Collaboration) alongside John Legend.

Hussle was fatally slain at the end of March 2019 in front of his Marathon Clothing store in Los Angeles. The rapper had just reached the peak of his career with the success and critical acclaim of his 2018 debut album Victory Lap.

Check out the documentary, The Marathon (Cultivation), above.

Nipsey Hussle is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Following Charlie Cox‘s cameo in Spider-Man: No Way Home and the very notable shifting of the Netflix Marvel shows over to Disney+, Daredevil fans’ dreams seem to be coming true as a new series (as we previously discussed) featuring ol’ hornhead is reportedly in the works. It was a welcome surprise as the notoriously secretive Marvel kept Cox’s future in the MCU close to its chest. The persistent rumor was that Daredevil would pop up in the previously announced Echo series (or possibly even She-Hulk), but now, it appears he’ll get to fly solo in his own Disney+ project from Matt Corman and Chris Ord.

To refresh, here’s part of the initial Variety report:

Corman and Ord most famously co-created the USA Network series “Covert Affairs” starring Piper Perabo and Christopher Gorham. The show aired for five seasons on the basic cabler between 2010 and 2014. They most recently worked as executive producers and co-showrunners on the NBC drama shows “The Enemy Within” and “The Brave” as well as The CW series “Containment.”

As news of the Daredevil reboot/revival hit, it didn’t take long for Jessica Jones to start trending on social media as Marvel fans saw a glimmer of hope that the Krysten Ritter-starring series might be next for a return. Like Daredevil, Jessica Jones was unceremoniously canceled after its third season as both Netflix and Disney shifted their streaming strategies. (Netflix no longer wanted to pay the hefty licensing fee for the Marvel shows, and Disney wanted all of its Marvel properties under one roof for obvious reasons.)

With Daredevil reportedly primed for a come back, the possibility of seeing more Jessica Jones is higher than ever. As you can see below the fans are hungry for it:

(Via Variety)

Remember Sonic? He’s back, in ugly form.

In the only non-toxic instance of a movie studio giving in to fan demands, Paramount Pictures famously retooled the original cursed design of everyone’s favorite chili dog-eating blue hedgehog for 2020’s Sonic the Hedgehog. This was the last anyone saw of his toothy grin — until Chip ‘n Dale: Rescue Rangers, the new animated Disney+ film featuring the voices of John Mulaney as Chip and Andy Samberg as Dale.

“Ugly Sonic,” as he’s referred to, appears early in Chip ‘n Dale: Rescue Rangers at a convention booth, alongside Lumière from Beauty and the Beast and Marvel Comics character Tigra. “They’ll like me for who I am, not like last time when the internet got one look at my human teeth and burned the place down,” Ugly Sonic tells Dale before signing an autograph for two scoffing attendees. “Oh, they’re laughing at me. I know that. You can’t hurt my feelings if I’m in on the joke.” Ugly Sonic’s luck since the backlash to Sonic the Hedgehog has shifted, though. He’s been offered a “new reality show where I do ride-alongs with the FBI.” The title: Ugly Sonic, Ugly Crimes.

Ugly Sonic — voiced by the great Tim Robinson — is an inspiration to us all.

Chip ‘n Dale: Rescue Rangers is available on Disney+ now.