Lil Baby is beginning to develop a habit of not turning in his verses for people’s albums. Last year, he admitted that he was supposed to be featured on Drake’s viral dance hit “Toosie Slide” but didn’t send his verse, missing out on another momentous opportunity. Now, a year later, it looks like he still hasn’t learned his lesson. This time, he missed out on inclusion in Young THug’s new album Punk, where he was originally slated to appear on “Bubbly” — which, incidentally, also features Drake, as well as Travis Scott.
Lil Baby revealed as much in a video he posted on TikTok. In the video, Baby gets edged up by his barber while playing a snippet of the now-unused verse with a voiceover reading the caption: “When Young Thug send you a song for his album and you forget to send it back.”
For what it’s worth, he has been a bit busy of late. Not only is he finally touring for his breakout 2020 album My Turn, that tour also doubles as a showcase for songs from his summer 2021 joint album with Lil Durk, The Voice Of The Heroes. Not to mention, he’s already done countless other features this year, becoming one of hip-hop’s most ubiquitous acts. Still, though, he may want to start setting himself reminders or hire an assistant to remind him to send those verses off.
Kelly Zutrau has always had a special ability to capture the in-between-the lines-moments of relationships in flux. With her band Wet, she’s written songs that are less about relationships falling apart and more about what it takes to keep them together. “Baby you’re the best, we’ll figure out the rest,” she sang on 2016’s gently auto-tuned “You’re The Best.”
“Do whatever you can to make it work and if you can’t, take space from it,” she says over the phone, pulled over at a gas station on I-5 in between the Bay Area and Los Angeles (“Apparently they have extremely good tacos.”)
But the road to the New York band’s third album, Letter Blue, out October 22nd, took a lot of soul-searching for Zutrau and Wet’s other two members, multi-instrumentalist/producer Joe Valle and guitarist Marty Sulkow. In fact, Sulkow left the band before their 2018 album, Still Run, as the band grappled with the dynamics of Zutrau as their leader and core songwriter. But now for Letter Blue, the band returned to that original trio and are now back together just as they were on 2016’s breakthrough Don’t Run.
Some other things have changed as well, namely that the band exited their relationship with the major label Columbia and have put Letter Blue out independently via AWAL. A tight-knit cast of collaborators including Toro y Moi’s “Chaz Bear,” Frank Ocean keyboardist Buddy Ross, Florence + The Machine guitarist Rob Ackroyd, and Blood Orange’s Dev Hynes have lent a hand to the album and the result is Wet’s most diverse offering yet. Zutrau’s hallmark emotional pop lyricism is as sharp as ever on songs like “Clementine” and “Blades Of Grass.” But there’s a new edge to songs like “Larabar” and the dance music-inflected, Chaz Bear-produced “Far Cry” that feel like taking the kind of chances that yield innovative pop with room to grow.
We caught up with Zutrau to talk about the ins and outs of Letter Blue and why she’s happy with an album for the first time in a very long time. The conversation has been lightly edited for clarity.
What went into bringing the three of you back together again as a band and to make this album?
Me and Marty hung out and talked for the first time in a while a couple years ago and then the three of us slowly started being friends again. It wasn’t like we weren’t friends, but we just weren’t really in touch for a good two years. We started hanging out again and it was so natural because everyone had kinda worked through a lot of stuff. We realized that we really missed making music together and were like “Let’s do a session!” and then “Alright, now let’s do another one. Ok now let’s run all of these songs together.” I think for me it felt like it was necessary to make an album that was fun and came from the same place that the music started from. A place with no expectations, no major label expectations. Something that I liked and that was fun to make and that was really important to me. So it made sense that we had a return to form.
I know that you had to overcome some inherent issues with the way you looked at the band. You and Joe kept doing your thing and split with Marty and you were able to overcome that I guess?
It’s just not easy, because we had been working together for ten years. It’s really hard to work with anyone — especially close friends — when boundaries are blurred. We took some space and I’m really grateful that we came back together, because I think that’s what a lot of the album is about: Taking stock in the last 10 years and taking a look at what you got out of it and what you have to show for it.
The best part of it after learning a lot is about these relationships with these people that you’ve toured the world with, is that they might drive you crazy, annoy you more than anyone. But they also know you better than anyone, you really love each other and have this unique experience of the world together. That’s a big part of the underlying themes.
You’ve written pretty literally about some of the band relationships on Still Run and obviously always about romantic relationships. What do you think it takes to make relationships work?
Just an acceptance that things are very imperfect and always in a constant state of change and flexibility; they just go through phases. You might not be talking to someone one year and then something happens and you come back together. And it’s not just about trying to solve relationships, but more about just being in them and figuring out each other’s boundaries. Do whatever you can to make it work and if you can’t, take space from it. I think no relationship feels good all the time. I think rarely there’s even a relationship that feels good most of the time [laughs]. Something I’m realizing as I get older, is that I’m so grateful to have people in my life that I’ve known for like 10 or 15 or even 20 years, that know me through these different stages in life. You don’t get that many more friends like that in life, who knew you in high school or during your first romantic relationship. So you want to hold on to those if you can.
So then is this why you’re most comfortable with this lineup of the band?
Yeah! We know each other really well and have been through a lot of conflicts between the three of us over the years so we know how to recover from them. You know, to know how to fight with someone is a good thing to have in a relationship. But I love the way it sounds when the three of us play together and that’s why we made the band in the first place. The way Marty plays guitar is such a big part of the sound of Wet and it’s so obvious now that he’s back playing live and it’s clicking for me a lot more.
This is the first album you’re releasing independently. What was different about that process creatively?
There were a lot of good things about being on Columbia, but it was just getting to a point where it wasn’t working for us creatively. There was a lot of changeover, so the people we had been working with had been swapped out with new people who didn’t necessarily know us or weren’t really aligned with what we wanted to make. You have these big budgets, but you don’t always have access to them and you have to plead your case as to why you need X, Y, and Z. And it’s just this long, bureaucratic process that probably does work for some people — like really big artists. But it just stopped working for us and when we asked to leave, they let us. And it was a pretty easy transition as it was clear that the relationship wasn’t really working anymore.
So on this third album, there was no other reason to make it than to make something that was intuitive and creative and coming from a real place of needing to make music and wanting it to feel good to us. Something I would stand by no matter the commercial reception it had. I think it’s okay to be focused on making money but for this, it was one of those things that if you want to make money, you should go into a different type of work, cause that’s not why you’re making music [laughs] I had to identify what I love about it, because a lot of this wasn’t working for me. I was miserable and close to quitting. And then there were these things that are amazing, with other artists and my bandmates and making stuff intuitively. We basically just paid to make it ourselves, with very little money, and then found a small independent label. They give you a little bit of money, but you have A LOT more control and that’s what I wanted. The freedom to move quickly…like “I want to go in the studio with this person tomorrow,” so just get in touch directly, do it and figure it out later.
It sounds like you got to a dark place that you were describing where you almost quit. I know you were featured on other people’s tracks… like that DJDS track “New Grave” with Kevin Drew, which really hit me like a freight train. DId stuff like that keep you going?
Yes, exactly! That track and being on the Toro y Moi record (“Monte Carlo”) and Rostam’s record (“Half-Light”). I was finding that to be so loose and free. You hit on something in the studio and there it is. It was moving a lot more quickly and creatively. That sorta inspired the process of the next album. I wanted to work with Chaz and Buddy Ross — who I had done some sessions with – and I wanted to keep it really tight, with few close collaborators. Have it be more collaborative and less precious. Less defining “Who are we?” or “What does Wet sound like?” Just let it be what it was going to be and trust myself. And I trust in this small group of collaborators. I know them really well and they’re all really talented. And I’m really happy with the album and I don’t usually feel that way.
Tell me about “Far Cry” and working with Chaz on that track, cause it sounds different from any Wet track I’ve ever heard.
That was one of the first songs that came together for the record. Right when I got off of tour, I wanted to get back in the studio with him. We met when he asked me to be on his album and then he came to a show and we went on tour with him and then started writing together. We wrote “Far Cry” and also “Only One” together and he really helped us shape the beginning sound of this album. Like, wanting to have some dance influence, which you hear on “Far Cry” and letting it be a heavy song, but also feel good at the same time. How it mirrors living with those two emotional states. Cause that can be what it feels like sometimes in these layered relationships that can be both sad and happy and that’s what we were going for there.
Do you feel like you’re still building your body of work and where you want to take this? Is the future still very much a work in progress?
Totally. It’s constantly evolving and changing and the world keeps changing so much. And I mean, we’re already working on another record. I’m always writing, I always want to be writing. It’s something that I do to work through my experiences of the world. But I do feel like with some of the collaborators we worked with on this album and the fact that it was the three of us again, we’re gonna keep heading in that direction.
On Wednesday evening, Donald Trump surprised the tech world by announcing his long-threatened social media platform, Truth Social, but he also apparently surprised another more serious group of people: the platform’s investors. According to a new report from the New York Times, the venture capital company, Digital World Acquisition, was not aware that the former president would be directly involved with Truth Social, which is kind of an important factor. Via Raw Story:
“The details of Mr. Trump’s latest partnership were vague,” the Times reports. “The statement he issued was reminiscent of the kind of claims he made about his business dealings in New York as a real estate developer. It was replete with high-dollar amounts and superlatives that could not be verified.”
Trump’s involvement is obviously a double-edged sword. While the former president still has a large number of supporters and a prominent place as the de facto head of the Republican Party, he’s also banned from Facebook and Twitter for riling up that base and sending them storming into the U.S. Capitol on January 6. Before you cut a check for $300 million, you should probably get more specifics from the guy whose spent the better part of the year claiming that he really won the 2020 election (when he did not).
Case in point, he announced Truth Social by essentially accusing Twitter of working with the Taliban: “We live in a world where the Taliban has a huge presence on Twitter, yet your favorite American President has been silenced,” Trump wrote in his press release. “This is unacceptable.”
Coldplay is fresh off the release of their new album Music Of The Spheres, and now, their current endeavor is a week-long residency on The Late Late Show. They’ve performed on the program every night this week, and so far, they’ve chosen to highlight the collaborative tracks from the new record: They linked up with Selena Gomez for “Let Somebody Go” on Monday, and on Tuesday, they performed “My Universe” but without BTS.
Coldplay was back on the show and they again opted to perform a joint effort, this time having We Are King and Jacob Collier join them on “Human Heart” (which is titled with just a heart emoji on streaming services). The performance was decidedly focused on the four singers’ vocals, as it was just Martin, Collier, and We Are King’s Amber and Paris Strother on the stage for the meditative song.
Coldplay previously said of the track, “We love the way that sound shaped up with all the stacked layers of vocals; it’s almost like a modern-sounding gospel song in some ways. Sometimes as a musician, it’s my job to step in and say, ‘Actually, the best course of action for me is to not play anything at all, because what we created here has a much more unique sound.’ You have to take your ego out of the picture and understand that the best job you can do is leave something alone. Because then it allows the other songs around it to sound bigger and fuller.”
Watch Coldplay, We Are King, and Collier perform “Human Heart” above.
Music Of The Spheres is out now via Parlophone. Get it here.
Coldplay is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Toro Y Moi has become an indie favorite over the past decade-plus. All of his albums were released via Carpark Records, but moving forward, Chaz Bear will have a new label home: It was announced today that he has signed with Dead Oceans, making him label-mates with artists like Phoebe Bridgers, Japanese Breakfast, Mitski, and many others. Furthermore, Toro Y Moi’s first album released on the label is set to arrive in 2022.
Bear said in a statement, “I’m excited to begin this next chapter with Secretly/Dead Oceans! Throughout the years they’ve continually maintained a conscious eye on the state of independent music and are pushing the boundaries of popular music. Thanks again to all my fans and supporters in making it this far with my music, your love and time is appreciated!”
Dead Oceans co-founder Phil Waldorf also notes, “Toro y Moi’s music has been omnipresent in our lives for over a decade now. Chaz has so many fans at Dead Oceans, and we’ve daydreamed a lot about what it would be like to get to work together. Chaz has such creative ambitions for Toro y Moi, and we can’t believe we get to wake up every day not just as fans, but as partners in his next chapter.”
Pascal Siakam was a Second Team All-NBA honoree two seasons ago. That feels like a distant memory at this point, as the ensuing year and a half has been unkind to him. All-NBA teams were voted on before play resumed in the Bubble, a context he struggled mightily in offensively. Then, he spent the duration of last season away from Toronto, as the Raptors were tucked away in Tampa Bay, Florida, and battled through COVID-19. While his 2020-21 was better than the narrative surrounding it suggests, it was still a notable step down from his pre-Bubble 2019-20.
As the Raptors embark on the post-Kyle Lowry Era, a return to the Siakam of old would be a significant boon. Siakam will open the year sidelined as he recovers from a torn labrum, but when he does suit up, his scoring, playmaking and rangy defense will be integral to Toronto’s chances of competitive basketball that possibly rubs shoulders with the play-in.
The Raptors’ roster is flush with mobile, sprawling, multifaceted wings and bigs. What it lacks, though, is scoring and creation juice — that’s why they were constantly running the break during preseason to seek easier offensive contexts. Although Siakam is somewhat of an overextended initiator, he is capable to degrees none of his Canadian contemporaries are. How this team consistently scores in the half-court before Siakam reappears is a dubious endeavor. Fred VanVleet, OG Anunoby and Goran Dragic will be tasked with lead duties. Gary Trent Jr., might also shoot his way into some responsibilities, but as their opener against the Wizards showed, this is a team with a creative need.
Siakam can significantly lighten the load for them if he resembles the All-NBA forward of yesteryear. Even if he’s closer to the guy we saw past December of last season, he will help substantially . But a full-fledged revival of sorts probably puts the Raptors in a position to balance a short-term playoff race — led by him, VanVleet and Anunoby — with the development of its various younger guys who fill the gaps on a quality team.
Prospects like Scottie Barnes and Precious Achiuwa will greatly benefit from others bending the defense and allowing them to capitalize as rollers, cutters and connective facilitators (Barnes, mostly, on the last point). Siakam figures to be this team’s supreme bender of defenses. Success in that job hinges on what version of Siakam emerges this season.
Moving forward, how exactly Siakam accelerates Toronto’s developmental players and immediate aspirations could determine his future with the franchise. If he’s good enough to secure or truly vie for a play-in spot to accrue postseason reps for everyone, that likely means he’s a star who provides vital stability. If he’s guiding the Raptors to the purgatory of an 11th- or 12th-place finish, maybe the idea of leaning all the way into a rebuild becomes more alluring for the organization, while the 27-year-old Siakam prefers a situation that invites increased short-term winning.
All of this is speculation, but feel like sound outcomes and situations to expect this year. And all of it is contingent on who Siakam is in 2021-22 and how that impacts this team’s crossroads season.
Can you say: Redirection? While the January 6th committee continues its investigation into the possible role Donald Trump might have played in the Capitol insurrection, Trump is on to the next thing—and he can’t make it happen fast enough.
On Wednesday, the former president—who has been booted off just about every legit social media platform the average American uses—announced that he was finally making good on his promise/threat to launch his very own social media site. It’s called TRUTH Social, which would actually be funny if it was tongue-in-cheek. But it’s not. The site will be run by a brand-new Trump company, the Trump Media & Technology Group, which might be one of the only Trump organizations that isn’t currently under investigation, but give it time. Because the other part of the announcement is that the Trump Media & Technology Group—yes, the company you had never heard of until yesterday—is also going public. So how exactly does that work?
Here’s the short version, a.k.a. Shady Stonks 101: Trump Media & Technology Group went public via a SPAC, which means it’s a “special purpose acquisition company,” or what’s more typically known as a “blank check company” or a shell corporation. Essentially, it’s a way to get a company listed on the stock market as a way to attract private investors who don’t want to deal with the whole IPO hullabaloo.
Twitter user @BillSPACman, who runs a substack specifically about SPACs, gave a great rundown of what he found out about the company, which is already shady as hell. You should read the whole thread, but here’s what he has so far uncovered:
In its marketing materials, Trump Media & Technology Group notes that its targeted competitors are Facebook, Apple, Amazon, Netflix, Google, Disney, and Hulu.
The company’s CEO is former investment banker Patrick F. Orlando, who is based in… Wuhan, China? And who purchased $11 million worth of shares a month ago, long before the news of the SPAC was made public.
The company’s CFO is Luis Orleans-Braganza, whom The Wrap describes as “a right-wing royalist and member of Brazil’s national legislature.”
Together, Orlando and Orleans-Braganza had a $7 billion SPAC with Giga Energy Inc. that fell apart just last month.
The company’s official address is a WeWork in Downtown Miami.
Donald Trump just launched a new conservative social media platform called Truth
The crazy part? He’s taking it public via a SPAC today
But that’s not even the craziest thing about the company…
The CEO of the SPAC that is funding Trump Media Technology Group is a guy name “Patrick Francis Orlando” whose contact info is a gmail address and an address in Wuhan, China.
John Aravosis, editor of Americablog News, was much more direct in his criticism of the transaction:
Trump now claims he’s going to launch a social media company that’s going to go public via a SPAC. In other words, they’re going to sell stock. So he’s going to fleece his own supporters, again. I give the man credit, he always finds a new way to profit off his own people.
Trump now claims he’s going to launch a social media company that’s going to go public via a SPAC. In other words, they’re going to sell stock. So he’s going to fleece his own supporters, again. I give the man credit, he always finds a new way to profit off his own people.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish movies available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
It is time, apparently, once again, time for a new take on Cinderella, the classic story of a girl and her evil family and how magic and some rodents make her a star. This time around, we have Camilia Cabello in the lead role and Billy Porter as her fairy godparent and Idina Menzel as the evil stepmother and, look at that, Pierce Brosnan as the king. The whole thing basically puts a series of small twists on a story you’ve seen a few dozen times, but sometimes that’s okay. The cast is strong enough to make it all worth a shot. Watch it on Amazon.
What we have here is an old-school erotic thriller — think Basic Instinct or Fatal Attraction — with White Lotus star Sydney Sweeney as one half of a curious couple who spends a not-insignificant amount of time spying on their exhibitionist-type neighbors. Things get weird and twisted and steamy, as they do in these kinds of movies, which were super popular in the 1980s and 1990s and have since just about disappeared. Might be worth it to give it a try, but think about closing your own blinds first. Watch it on Amazon Prime.
Scarlett Johansson’s Natasha Romanoff finally gets a proper send-off in this actioner that aims to go back-to-basics but succeeds more on a personal level. The film fills in plenty of blanks following the events of Captain America: Civil War, but more importantly, we receive butt-kicking ladies in well-choreographed fight scenes and an emotionally resonant story that introduces us to the inner Natasha, as witnessed by Florence Pugh’s Yelena Belova. She’s perhaps the only person in the world who’s allowed to tease Natasha, and their dynamic (and the chemistry between Scarlett and Florence) rules. The film also allows David Harbour to perform grunt-filled face work with a wild accent while the ladies swirl around him in hand-to-hand combat. It’s a winner. And it’s now available to subscribers with no extra fee. Watch it on Disney+.
The Velvet Underground is one of the most influential bands of all-time. But unlike other iconic 1960s groups like, say, the Beatles, there’s not a ton of footage of Lou Reed, John Cale, Sterling Morrison, and Moe Tucker performing. To get around this, director Todd Haynes has made a documentary that captures the “idea” of the VU rather than a Wikipedia summary. Don’t walk, but “run run run” to watch The Velvet Underground! Watch it on Apple TV+.
James Wan, he of the Saw and Insidious and Conjuring movies, is back with a new horror film. This one focuses on a woman who has terrifying visions of brutal murders, which are ruining her life a little (as terrifying visions of brutal murders will do) and are also –surprise — actually happening in the real world (which is bad). None of it sounds like a good time for her. For you, though? Maybe. Watch it on Netflix.
Good news: The Muppets are back. Everyone’s favorite collection of fuzzy rascals take to Disney+ with a new spooky Halloween story about a haunted mansion. The Haunted Mansion, if we’re being technical. It might be a nice opportunity to fall down a Muppet rabbit hole again. There’s never a bad time to watch The Great Muppet Caper, after all. Watch it on Disney+.
The Sopranos are back. Kind of. The Sopranos are kind of back. Series creator David Chase’s long-rumored, long-awaited prequel movie about New Jersey’s most famous fictional crime family is finally here. What do we got? Well, for one, we’ve got Michael Gandolfini filling the role of a Tony Soprano and playing a younger version of the character his father made famous. We’ve also got a bunch more Moltisantis and 1960-70s fashion all against the backdrop of the 1967 riots in Newark. There’s a lot going here. You’ll probably want to check it out, if only to bask in a little nostalgia for a while. Watch it on HBO Max
The dark spirits compel us to remind you that Megan Fox has a horror-comedy coming to Netflix this week. It’s likely this reminder is retribution for how terribly we treated Fox’s other terrific horror entry, Jennifer’s Body. Will this one be as good? Who knows? It looks promising enough though, with Fox and Sydney Sweeney hamming it up as two LA-based Goth queens who mix a bit of human blood into their green smoothies. Lucy Fry and Debbie Ryan take up the most screen-time, playing a pair of hard-partying undead millennials that look to be the worst Uber passengers you’ll ever meet. It’s a wild noir-infused romp through the city that doesn’t seem to take itself too seriously. Watch it on Netflix.
Halloween Kills is a direct sequel to 2018’s Halloween, which was a sequel to 1978’s Halloween that ignored all the previous sequels in the franchise. It’s confusing, but really, all you need to know is that it’s a Halloween movie with Jamie Lee Curtis, “The Shape,” and an eerie score from John Carpenter. ’Tis the season (to watch horror movies). Watch it on Peacock
At long last, Dune is here. Denis Villeneuve’s science-fiction epic starring everyone you like (including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, and Jason Momoa) should probably be seen on the biggest screen possible. But it’ll still look darn good at home. Watch it on HBO Max.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
Eli Roth has so much going on over at Discovery+ this month (following his recent real-life horror/Shark-Week film on the streamer) that one has to wonder… is he running the joint? It’s a valid question, but more to the point, he’s teaming up with Ghost Adventures host Zak Bagans for this scripted anthology series, in which they illuminate nine of the world’s most cursed artifacts. These relics are actually in display in Bagans’ Vegas museum, but here, you’ll get the historic commentary in addition to having the pants scared off of you.
10. (tie) I Know What You Did Last Summer (Amazon Prime)
AMAZON
Sure, you remember the 1997 film and perhaps you’re aware that that was based upon the 1973 novel by Lois Duncan, but this Amazon Studios collaboration with Sony Pictures Television wants you to relive the nightmare once more. Obviously, this version doesn’t have Jennifer Love Hewitt, Sarah Michelle Gellar, or Freddie Prinze, but these teens seem more twisted by nature than the O.G. bunch, so perhaps that will add some shading to justify reviving their shared dark secret as they aim to survive. Watch it on Amazon Prime.
Need to shake up your food game? Join the club. Chef David Chang teams up with director Morgan Nevill for six episodes that follow seismic changes in the way we eat. There’s a global perspective, and expect to see robots and lab-grown food and more surprising paths to tastiness. Watch it on Hulu.
Margaret Qualley (Once Upon A Time In Hollywood) stars in this heartbreaking adaptation of Stephanie Land’s New York Times best-selling memoir, Maid: Hard Work, Low Pay, and a Mother’s Will to Survive. This will, clearly, be a difficult watch, but Qualley’s raw portrayal (of a woman who flees an abusive relationship to go through exceedingly difficult times to break the cycle for her daughter) yields a burgeoning star. Watch it on Netflix. Watch it on Netflix.
We’ve said it before, we’ll say it again: Apple TV+ is winning the space race. This latest drama from the streamer imagines an alien invasion of Earth as told from different perspectives of people on different continents around the world. Sam Neill is one of those – he plays a small-town sheriff on the verge of retirement when these other-worldly guests arrive. X-Men producer Simon Kinberg is behind the series, so expect the show to have some terrific visuals and compelling storylines. Watch it on Apple TV+.
Well, well, well. Guillermo turned out to be a vampire killer, which sure as heck came as a surprise to Nandor, Nadja, and Laszlo, and Colin. The four Staten Island roommates must figure out how to handle this conundrum, along with tackling the other challenges of this season. Those include dealing with wellness cults and gym culture, along with gargoyles, werewolves who play kickball, casinos, and more. In other words, this is still one of the funniest shows on TV. Watch it on FX and Hulu.
Lizzy Caplan and Christian Slater star in this adult animated comedy show that revolves around a shadow government that’s all up in global conspiracies. There are secret societies and orgies and shapeshifters and psychic mushrooms, along with an idealistic agent who hopes that she can make a difference in a world filled with unhinged characters. Watch it on Netflix.
If you find yourself commiserating with Penn Badgley’s obsessive serial killer Joe Goldberg when You’s third season drops this week, don’t take it personally. Relocating to a small town and having to interact with mommy bloggers and uber-masculine tech-daddies sounds like hell, sure, but it’s what he deserves. The show’s latest installment picks up where season two left off — with Joe and his new wife Love Quinn (Victoria Pedretti at her best here) moving to the suburbs and trying to curb the worst of their shared homicidal tendencies. A new baby, new romantic distractions, anti-vaxxers, feminist wine retreats, and bro trips that end rather bloody all threaten their planned quiet life. And really, no amount of couple’s therapy can save a marriage when one spouse is constantly fantasizing about murdering the other. Happily ever after just isn’t in the cards for these two — but more dead bodies piling up in their basement certainly is. Watch it on Netflix.
Netflix’s most popular show in, well, ever continues to burn up the discourse, and internet bandwidth all over the world. It’s been a while since we had a full-on phenomenon like this one. Get in there if you haven’t yet, or maybe get in there again if you have, if part to enjoy (?) all the class-based cynicism and murderous children’s games, and in part so you have something to talk about with your family during the quickly-approaching holiday season. Watch it on Netflix.
Selena Gomez stars alongside the legendary Steve Martin and Martin Short, and the three portray NYC neighbors who aim to unravel an apparent murder inside their apartment building. Yes, they’re all podcasting because everyone does it (duh), and before long, the killer might be after them, too. Martin hasn’t written a feature film since the Pink Panther movies and Shopgirl, and we don’t wanna come out and call this trio a “much cooler Three Amigos” update, but Martin wrote that, too, so why not? Season one just wrapped up this week. Time for a full-on weekend binge. Watch it on Hulu
It’s a mitzvah in a world like this to turn the other cheek, bite the tongue, and generally disregard the impoliteness, ridiculousness, and stupidity of others. But wow, what a lift. Perhaps that’s why it’s so freeing to see Larry David and a cavalcade of stars and familiar faces push against the minutiae of polite culture with serial honesty. Who else could reject someone’s plea to pray for a sick relative without getting stabbed or mock the fakery of gazing deeply into someone’s eyes during a toast when all you want to do is freaking eat? Larry is no hero. He’s an asshole, but he’s our asshole and he’s back for another round of Curb. Watch it on HBO.
Everyone’s favorite collection of monsters is back, once again, this time for a slightly delayed third season. Things left off with the Roy family in turmoil, as always, although this time from friendly fire, thanks to noted screw-up and amateur rapper Kendall making a big move. The new season should get ugly in the best possible way, so hop on board week-to-week if you’re already a fan or load up a binge and get caught up to see what everyone’s yammering about all fall. Watch it on HBO Max.
The first Uncharted video game, Uncharted: Drake’s Fortune, came out in 2007 and the series — which now includes four main titles, a prequel, and a standalone — has been one of Playstation’s biggest sellers since. It follows Nathan Drake, an Indiana Jones-type figure who goes on globe-trotting adventures in search of treasure, often with his cigar-chomping mentor, Victor “Sully” Sullivan, and fellow treasure-hunter/potential love interest, Chloe. All three characters (but no Elena???) will appear in the Uncharted movie, starring Tom Holland as Nathan, Mark Wahlberg as Sully, and Sophia Taylor Ali as Chloe. Get ready for lots of jumping. So much jumping.
You can watch the trailer (which includes recreations of key moments from the video games, including this great moment from Uncharted 3: Drake’s Deception) above.
Here’s the official plot summary:
Based on one of the best-selling, most critically acclaimed video game series of all time, Uncharted introduces audiences to the young street-smart Nathan Drake (Tom Holland) and showcases his first treasure hunting adventure with wisecracking partner Victor “Sully” Sullivan (Mark Wahlberg). In an action-adventure epic that spans the globe, the two go in dangerous pursuit of “the greatest treasure never found” while also tracking clues that may lead to Nathan’s long-lost brother.
Uncharted is scheduled to open on February 18, 2022.
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