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A ‘Cobra Kai’ Co-Creator Shared His Tips On How To Make A Reboot That Doesn’t Stink

Most reboots of old shows and movies are not good. I will not list them all, because there’s so many, but here’s one: Mad About You, NBC’s Emmy-winning 1990s hit sitcom, was resurrected by Spectrum Originals for one forgotten season. The only positive thing to come from it is that Richard Kind got paid. But every so often, a good reboot will slip through cracks — even rarer is the great reboot. Cobra Kai is a great reboot.

Co-creator and showrunner Hayden Schlossberg spoke to the Hollywood Reporter about how the Netflix series inspired by The Karate Kid franchise turned into one of the best shows on TV. “Ever since Cobra Kai premiered in 2018,” he wrote. “I have heard some version of the following: ‘I can’t believe how much I loved your show, because whenever Hollywood attempts to bring back a classic movie franchise, it almost never works out.’ Well, my co-creators Jon Hurwitz, Josh Heald, and I completely understand where that sentiment comes from.” Schlossberg then shared tips on how to make a great reboot:

DO treat the original franchise with reverence

But…

DON’T be afraid to make big changes

He also suggested, “DON’T assume your audience is going to stick around until the end” and, “DON’T argue with the fans,” which is good advice for most situations.

You can read all of Schlossberg’s tips over at the Hollywood Reporter. Especially if you’re on the team that’s bringing back Gremlins. Please don’t mess this up.

(Via the Hollywood Reporter)

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WNBA Community Organizing Is Strengthened By Its Strong Players’ Union

The WNBA has increasingly become known for its players organizing and advocating for social issues they believe in. That work would not exist if not for a powerful and united union that stands behind the players when they take a stand. The league has gained notoriety in recent years for its ability to sway political races or set the standard for athlete activism, but its focus has long been at the community level.

Around the league, players are attuned to the needs and struggles of the cities where they reside. As the players’ association, led by president Nneka Ogwumike and executive director Terri Jackson, built a reputation as a group that could negotiate better working conditions and compensation for its athletes in addition to providing them support in their off-court work, it did so by going local.

This is not something sports unions typically do. The word “community” is only found once on the NFLPA website. It is not found until the last paragraph of the NBPA’s “About” page. The MLBPA page makes no mention of local initiatives in its mission. Even in an era in which athlete activism is common and players are increasingly empowered to stand for something outside of sports, the WNBPA is unique in the way it seeks out ways to identify and invest in issues and movements that its players care about.

One of the early moments that put the WNBPA on the map as a force for social change alongside its players was in 2016, when the players of the Minnesota Lynx staged a protest at their home arena following the death of Philando Castile in the Twin Cities area and others around the country. The team’s four stars donned matching shirts with the phrases “Change Starts With US” and “Black Lives Matter.” In response, four off-duty officers providing security for the game left the premises and quit working Lynx games.

Other teams around the league followed Minnesota’s lead and all were eventually fined by the WNBA league office. That’s when the union got involved. They negotiated behind the scenes with the league and then-president Lisa Borders to protect the players and get the fines rescinded.

“The players’ desire to express themselves will continue to be supported,” Jackson said at the time.

Just like that, the local became national and led to change for all WNBA players. The same process played out last year as Atlanta Dream players waged a behind-the-scenes battle with former owner Kelly Loeffler, who also was in the middle of a re-election campaign for the U.S. Senate. While the country spun during a summer of social uprising, Loeffler turned the efforts of the team she owned into a political wedge issue, publicly decrying their support of the Black Lives Matter movement.

When it came time for organizing and strategizing how to take the fight to Loeffler more publicly, the WNBPA again helped its players be successful in its local community. As the league was gathered in its south Florida Bubble last summer, Dream center and WNBPA secretary Elizabeth Williams, along with WNBPA vice president Sue Bird, helped vet Loeffler’s opponent, Rev. Rafael Warnock, and made plans to support him. Then, union leadership presented their thoughts to Dream players and formulated a plan to have the league wear “Vote Warnock” shirts on nationally televised games and throw their support behind Warnock in the Georgia Senate race. It worked, big time.

Last year proved the might of the WNBPA and what is possible when the union meets its players where they are. It was a condition of the players that the league support their social justice efforts if the 2020 season were to happen, and by negotiating hard on those details, the union was able to affirm that any demonstrations, statements, or actions would not be punished by the league. No other union has ever negotiated such parameters with its league.

“That did not have to happen,” Jackson told Sports Illustrated last year. “That’s not a typical negotiated term.”

As the 2021 season enters the stretch run, the WNBPA is doing even more. The union recently partnered with Amalgamated Bank, making it the players’ Official Social Responsibility Partner. As part of the agreement, Bird, Williams, and Natasha Cloud created a video series called “Shoutouts” in which each player is able to highlight the local organizations they partner with for social change. The deal also included the formation of the WNBA Social Impact Fund, and the initial slate of donation recipients featured a nod to the role Georgia — and the Dream — played in the league’s achievements in 2020 with a donation to the New Georgia Project.

Throughout the year, the union has done community outreach on vaccination, seeking out Black communities in team cities to inform and educate people about the COVID-19 vaccine. The union proudly announced earlier this summer that 99 percent of players have been vaccinated, proving that what the players do, they do together.

Last year, Ogwumike told SI “our movement has found its moment, and we’ve capitalized on that moment.” Seemingly small gestures of support to teams’ and players’ work in their smaller communities is a quieter part of what the WNBPA does, but it is integral to generating support around the union’s efforts and getting the players to move as one.

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Aaliyah’s Record Label Drops Merch To Commemorate ‘One In A Million’ Streaming

Blackground 2.0, the record label responsible for bringing Aaliyah‘s classic 1996 album One In A Million to streaming, has now commemorated the release with new merch. The collection includes a baseball jersey, sweatpants, and even a sports bra, evoking Aaliyah’s iconic uniform. You can check out the items on the Blackground Records website.



Aaliyah’s uncle Barry Hankerson is the Blackground co-founder and has stated his plans to release the rest of the late singer’s catalog to streaming in the near future. While he said he wanted “to keep her legacy alive,” Aaliyah’s mother and brother, who operate Aaliyah’s estate, have criticized his moves, writing in a statement:

“Now, in this 20th year, this unscrupulous endeavor to release Aaliyah’s music without any transparency or full accounting to the estate compels our hearts to express a word – forgiveness. Although we will continue to defend ourselves and her legacy lawfully and justly, we want to preempt the inevitable attacks on our character by all the individuals who have emerged from the shadows to leech off of Aaliyah’s life’s work.”

That hasn’t stopped fans from enjoying One In A Million on services like Apple Music and Spotify. Meanwhile, the estate has claimed control of Aaliyah’s YouTube channel.

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‘Overwatch’ Will Change The Name Of DPS Hero McCree To ‘Something That Better Represents’ ‘Overwatch’

When Activision Blizzard released Overwatch in 2016 it was praised for having a cast of characters that were all seen as unique and different from one another. However, one of those characters is currently undergoing a massive push from fans to have their name changed. Jesse McCree, the cowboy DPS hero, is named after a former developer at Activision Blizzard who was recently let go. The reason why McCree, the developer, was let go from the company was never officially stated, but it’s believed to be due to his involvement in the “Cosby Suite”. The “Cosby Suite” is one of the many accusations currently listed in a lawsuit by the California Department of Fair Employment and Housing against Activision Blizzard for creating a “frat boy culture.”

On Thursday, the Overwatch team released a statement that they are currently in the process of changing the name of the cowboy DPS hero. While never addressing the exact reasoning behind it, they did say that it’s because they feel his current name does not “represent what Overwatch stands for.”

The statement goes on to say that it will take time to change the name of the cowboy DPS hero because he has played an essential part in the lore of the Overwatch universe up to this point. He’s had an animated short, been a major part of multiple events, and was even going to kick off some new story content. However, with the push to change his name going so far as to have eSports broadcasters refusing to say it on air, it was clear that it had to be done.

The statement makes one other key announcement and it’s that they will no longer be naming characters after employees. This was a trend in Activision Blizzard games that had been going on for quite some time. It was not uncommon for an NPC in a game like World of Warcraft, to be named after a developer on the game. However, with some of those developers being named in the recent lawsuit, it’s become apparent that the practice of naming characters after employees needed to end.

The lawsuit against Activision Blizzard is currently still ongoing, and was recently updated with accusations of the company tampering with evidence and shredding documents that were in relation to the investigation against them. Activision Blizzard released a statement in response claiming they have taken “appropriate steps to preserve information relevant to the DFEH investigation,”

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A Year After Launching, The NBA Foundation Continues To Grow With Humility

August 2021 marked a year since the NBA Board of Governors launched the NBA Foundation, a charitable foundation aimed at creating greater, and sustainable, economic empowerment within the Black community, specifically focused on Black youth. Within that year the Foundation, in partnership with the NBPA, awarded 40 grants to non-profit organizations totalling $11 million, utilizing the collective $30 million NBA team owners have committed to donating annually, over the next ten years.

From its inception, the NBA Foundation aimed to focus on what the NBA’s former SVP of Player Development, and now the Foundation’s inaugural Executive Director, Greg Taylor, and his team considered three critical employment transition points: getting a first job, securing a job post-high school or college, and career advancement. Some of the ways the Foundation planned to actualize those goals was through investing in youth employment and internship programs, job shadows and apprenticeships, career placement, professional mentorships, support of STEM fields, and partnerships with Historically Black Colleges and Universities. Involving each NBA team also meant that grants could be awarded that focused on specific concerns within the communities of each franchise’s home markets, rather than designating from the top-down.

Taylor has often referred to the NBA Foundation as a labor of love and that much is clear when talking with him about its progress over the past year, but the fact that it sits so closely with Taylor and his staff is also what’s driven its success. Launching a new, multi-tiered, highly ambitious and necessarily self-aware philanthropic organization would require heavy lifting even under the best conditions, but Taylor and his team did it during some of the most fraught stretches of the Covid pandemic.

On a call with Dime, Taylor reflected on the last year and its challenges, the process behind identifying candidates and awarding grants, the insight that board members Tobias Harris and Harrison Barnes bring to the table as athletes, and how to strike a balance between realistic expectations and maintaining the natural momentum within the work he and his team are doing.

What has the response been like in the first year of launching the NBA Foundation, and in what ways has it surprised you?

It’s been overwhelmingly positive. I’m really very, very pleased with the feedback we’ve gotten from grantees, from other foundations with a much longer track record that we have, from the teams, players, all of our stakeholders. I think there’s an overwhelming sense of pride with regards to the NBA responding in such a significant way to many of the social justice issues that were facing the country, that this is a long standing commitment over time. As you know it’s a 10-year, $300 million commitment from our governors, funding the NBA Foundation’s mission around economic opportunity for Black youth. And while it’s a 10-year commitment on paper, there’s every expectation that the Foundation will operate in perpetuity going forward. I also say there’s nothing more powerful than an idea whose time has come, and I think in many ways, our work at the NBA Foundation, really trying to pour into resources and opportunities — in this case for Black youth — I think it’s an important moment in time and glad to be a part of it.

I think what’s been surprising from my standpoint really has been the degree to which we’ve had really great success in working with organizations that work with a broad spectrum of young people. So we have organizations that work with homeless youth, that work with court-involved youth, that work with the valedictorian from their high school and college, and everything in between. And I think what’s really been surprising and heartening is the importance of providing equitable opportunities across the spectrum of young people towards really meaningful employment. And I think the tightening of our commitment around economic opportunity has just been a really, and how well it’s been embraced, has been really surprising for me.

You and your team delivered 40 grants in the past year to non-profits, can you tell me a bit about the decision-making process that goes into ultimately narrowing down the organizations grants are awarded to?

We have a pretty rigorous process. We know that our financial resources are limited. We know that the need is great across the country to help provide meaningful employment opportunities for Black youth. And so we have a really thoughtful decision-making process. It certainly starts with wanting to understand performance and track record of the nonprofit partners that we partner with, around generating positive outcomes for young people. So longstanding or widely recognized as effective organizations working with our population is one. Two, we look at the innovative nature of their programs, right? And we know that really beginning to involve young people in the design of the curriculum, really working with and partnering with corporations and nonprofits that will hire our young people differently, all requires a focus on innovation. And so there’s an innovation component that we look at. We’re very interested, as I said, the organizations that are operating in our 28 markets, so there’s a geographic focus. And while in many cases we have also worked with national organizations, those national organizations are looking to replicate or share their programming in our 28 markets. So there’s a little bit of a geographic focus if you will.

And then probably lastly, I would just say, we look at the leadership of the organization. We want to make sure that we’re investing in diverse leadership, particularly African-American leadership, as we know that sustaining those organizations over time for long standing outcomes, all matter. So that gives you a sense. Obviously, we look at their financial health, we review their 990 [forms]. We look at their tax status, all of that stuff, which is consistent with best practices in philanthropy — we do all of the above. But all of that goes into the decision-making where we decide who we’re going to award the grants to. I’d be remiss if I didn’t say we work also in partnership with our local teams to identify organizations in their markets. While we maintain the final decision, their voice is important too.

How do you think launching the NBA Foundation during the pandemic affected, or magnified, goals for the Foundation overall?

Without question. There’s no question that the backdrop of the Foundation happening or being instituted during the pandemic played a role. I would say programmatically, one of the things we’re committed to is giving grants for both capacity building goals, as well as program goals. And I would say that that capacity building goals, meaning helping the nonprofit organizations strengthen their operations, hire staff or solidify their institution, that really comes out of the pandemic, where we know so many organizations have struggled to stabilize, grant dollars are harder to find on the capacity building side. So we wanted to really respond to some of those institutional needs that we heard from our grantee partners. There’s no question that programming, in person, as it historically has been. So many of our organizations have really brilliantly moved to online program delivery and everybody’s using Zoom and other software, as you know.

And so we wanted to help them by providing resources to help that program transition in terms of how they’re delivering services and supports to their young people. And maybe selfishly, I would just say establishing the Foundation during the pandemic, I have yet to be in the same managerial room as my small, but mighty team. We are too operating on Zoom and manage and lead this organization almost completely virtually. Because we have not yet been in the same office either. So building and establishing a startup foundation in the middle of a pandemic has affected us all.

Do you think getting underway during the pandemic helped to create a sense of urgency for team owners to engage with and invest meaningfully in the communities within their markets?

I think it added to the larger mission of trying to be really responsive coming out of the social unrest in the country. I would argue that the NBA has a longstanding history of being a leader in social justice and civil rights. I would argue that the creation of the NBA Foundation really expands on that legacy. I would say one of the inflection points to the decision to create the Foundation was the moment the Milwaukee Bucks decided not to play in Orlando. And I think in many ways, what we were thinking about as a league is, what is our response? What is the sustained response we could have over time to really help change some of the social justice issues that we’re facing as a country. And I think that was the creation of the NBA Foundation. I think the pandemic has also exacerbated some of those issues too, because folks were more isolated. They were more challenged, different things happening in the community. But I think the larger genesis of the Foundation was the social justice unrest in the country, and the pandemic was an extenuating circumstance on top of that.

The Board of the NBA Foundation is made up of team executives, as well as current and former players like Tobias Harris, Harrison Barnes and Michael Jordan. Could you share with me some of the unique perspective Tobias and Harrison have brought to the team, and why it was crucial to include players when establishing the Foundation’s Board?

Both have been highly engaged board members, really pleased with both their voice and their recommended direction. I think about Tobias utilizing his interviews during his post game news conferences coming out of the Bubble, where he was highlighting the fact that there wasn’t that much media attention on Breonna Taylor. I think that commitment to social justice spills over in his leadership on the board at the Foundation. He’s really has been instrumental in identifying potential nonprofits that are working and mirroring the mission that it’s about economic opportunity for Black youth. He is an absolute proponent of education. And so education is one of the pillars of the Foundation. I think he brings a lot of knowledge and thought process to our education grant making. Same goes for Harrison. I think Harrison has a real interest in philanthropy and has come in and asked a lot of questions about the creation of the Foundation and our back office operations. We’ve done a number of grants where he has actually recommended organizations that we took long and hard looks at. He’s very big proponent of City Year, and City Year was one of our initial grantees and his recommendation and familiarity with the organization, coupled with our due diligence of who that organization is, shows his active nature around the work. So both the Tobias and Harrison have been tremendous board members. We talk regularly and I feel like they’re highly engaged, and we appreciate their perspective.

You’ve talked before about the awareness of being a new philanthropy and working to build awareness through partnerships, and aside from the internal knowledge and experience of the NBA’s own community-focused initiatives, are there any established philanthropic organizations you and your team have looked to as you build?

This is the first ever NBA foundation. And I think while the NBA brand is certainly established and well known, we didn’t have in our building the track record in terms of philanthropy, right? And so this is our first time working in the philanthropic space. I’m really blessed that I have 20 plus years in philanthropy, formally at the Kellogg Foundation, and the Foundation for Newark’s Future. One of my initial hires has been a young woman from the Ford Foundation, Adela Ruiz, who’s our Program and Grants Manager. Lauren Sills used to work with the JP Morgan Chase Foundation, she’s our Operations Director. So wanted to bring expertise to the board, but without question we’ve all tapped into our network.

We’ve had lots of conversations with ranges of different philanthropy, including Ford and Kellogg and others that have really been very helpful. The Knight Foundation in Miami, Hispanics in Philanthropy, and others, have really provided back office guidance and recommendations, because we don’t want to recreate the wheel and we really do want to add value in the space. We know that means we should be partnering with folks who have been at this longer than us. We should leverage our own knowledge, lead with humility, listen our way into leadership and really try to add value to what has been ongoing work in the field. And so lots of philanthropic partners have been absolutely helpful and essential and certainly, we want to thank all of them for their willingness to support what we’re trying to do.

On that same note, you’ve also talked about wanting to get clarity on what success looks like for the Foundation. Even in this first year of operation, the Foundation is incredibly far reaching, how do you measure success now, and how will that differ going forward?

As a startup, we want to get the organization’s brand up. And so a lot of our early success, at least at the organization level, is to get the word out, is to be an efficient grant-maker, is to really be effective in our decision-making. So having strong internal operations that are very effective, an experienced team, and really getting that brand out. We certainly have made, I think, 40 wonderful grants to organizations. I think we touched with those for those 40 grants about 11,000 young people. And so we realized that we’re accelerating outcomes for young people in our non-profit partnerships. Certainly we want to track what those young people are doing, it’s just too early to be able to tie progress that those young people are experiencing to the Foundation. You have to have some time to do that over time, but strengths and quality of the partnerships and the number of partnerships we create between the NBA, non-profits and companies that are really thinking differently about hiring young people differently.

We will certainly track our partnerships and their effectiveness in terms of achieving concrete and meaningful outcomes for young people. One of the things we want to do is to create storylines, we want to get the word out about what the tremendous work that so many nonprofits are doing around economic opportunity for Black youth. And so we certainly want to track the number of stories, the content that is created, the ways in which we can highlight the work of our nonprofit partners, all of those are metrics towards, or maybe indicators towards success. But I think given our year long roadmap, I think those are good markers that are realistic at this point, but we certainly will evolve our measurements to be about job creation, to be about, are those young people that we’re working with above the racial wealth gap or transcending the racial wealth gap in their particular market? Are there companies that are changing policies and practices as to how they hire and prepare and retain Black youth for meaningful employment? All of those will be markers of success moving forward. It’s just early in our tenure at this point.

You’ve stressed keeping realistic expectations to your team. How do you balance realistic expectations, while continuing to nurture the kind of momentum the Foundation has seen in its first year?

I think I already used the quote about nothing is more powerful than an idea whose time has come [laughs], but the momentum has been amazing. And I want to shout out both Lauren Sills and Adela Ruiz on my team in terms of just amazing work. Our board, our partners. I think the momentum has been amazing and I’m really glad to be a part of it. I think when I say managing our expectations, it’s really more around recognizing that we’re building our organization and that we can’t, to your earlier question, lead to outcome, at this point, because it’s just too early in the process. Listen, we’re open for business. We want to grow our numbers and strengthen our partnerships. We want to work with organizations that have longstanding track records in preparing young people in the world of work. We want to work with companies that want to hire and prepare young people for meaningful employment differently. Our momentum, it’s really incredible. And we want to promote that. We just want to move in a thoughtful way, move with humility and really build a sustainable entity as we move forward. And I think that’s the balance, it’s momentum, not versus, but complemented with sustainability. And I think we’re looking at all of that in a realistic and thoughtful manner.

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A Bunch Of Capitol Hill Cops Are Suing Trump And His Cronies Over Their Election Fraud Lies That Sparked The Jan. 6th Insurrection

Donald Trump is being sued again, this time by a group of seven Capitol Police officers who accused the former president of inciting an insurrection on Jan. 6th.

Though other suits naming Trump as an instigator of the mob that stormed Congress that day have been filed, this is the first to allege that the former president worked with far-right extremists and political organizers to spread misinformation about the presidential election, which led to the coordinated attack on the Capitol. Officers Conrad Smith, Danny McElroy, Byron Evans, Governor Latson, Melissa Marshall, Michael Fortune, and Jason Deroche named Trump along with allies like Roger Stone and groups like the Proud Boys and the Oath Keepers as the guilty parties responsible for trying to disrupt the peaceful transition of power earlier this year.

“Plaintiffs and their fellow law enforcement officers risked their lives to defend the Capitol from a violent, mass attack — an attack provoked, aided, and joined by Defendants in an unlawful effort to use force, intimidation, and threats to prevent Congress from certifying the results of the 2020 Presidential election,” the suit reads, via the New York Times. “Because of Defendants’ unlawful actions, Plaintiffs were violently assaulted, spat upon, tear-gassed, bear-sprayed, subjected to racial slurs and epithets, and put in fear for their lives. Plaintiff’s injuries, which Defendants caused, persist to this day.”

Earlier this summer, a handful of Capitol Police officers came forward to share their experiences trying to combat the violent mob during a congressional hearing but the suit contains even more horrific details from the individuals — five of whom are Black — forced to try to keep the peace that day. One officer recounted how rioters beat him and hurled racial slurs at him as they tried to breach the Senate chamber. Another shared how the mob struck him with batteries before assaulting him with mace and bear spray, causing his eyes to swell shut.

The suit comes as the Justice Department continues to investigate Trump’s role in the Jan. 6th insurrection and a newly-appointed Congressional committee has made requests for mountains of detailed records relating to the Trump administration’s involvement in the attempted coup.

(Via New York Times)

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Tom Cruise Showed Off HIs Insane ‘Mission: Impossible 7’ Motorcycle Cliff Jump That Required A Year Of Training

After months of teasing it as Tom Cruise’s most dangerous stunt yet, Paramount gave CinemaCon a glimpse at the actor’s latest death-defying action scene in Mission: Impossible 7 that involves literally launching him off of a cliff in Norway. In a behind-the-scenes clip shown to CinemaCon attendees on Thursday, an absolutely giddy Cruise talks about the motorcycle stunt that he’s wanted to do since he was a “little kid.” Via Deadline:

Cruise trained for the feat by skydiving in the air. A cycle jumping course was built, which Cruise trained on, jumping hills. “I have to be so good that I don’t miss my mark,” says Cruise.

Cruise barrels down a ramp off a cliff and in mid-air lets the bike go before his parachute is released. McQuarrie mouth drops as he watches the first take of Cruise. “Tom Cruise just rode a bike off a cliff six times today,” says one of crewmembers in the BTS shot.

As the clip comes to an end, director Christopher McQuarrie says, “The only thing that scares me more is what we’ve got planned for Mission 8.”

The motorcycle stunt is yet another in a long line of stunts that could’ve easily ended very badly for Cruise. But according to The Hollywood Reporter‘s Aaron Couch, Cruise didn’t approach the motorcycle jump lightly and he spent a year preparing for it.

“Cruise trained for a year doing 500 skydives and 13,000 motorbike jumps,” Couch reported from CinemaCon. “They captured this on day one of principal photography. Genuinely scary watching him do this.”

Mission: Impossible 7 jumps into theaters on May 27, 2022.

(Via Deadline, Aaron Couch on Twitter)

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Griff Pads Her Rising Star Resume With The Pop Anthem ‘One Night’

There are a ton of artists who are regularly hailed as the next big thing, but few of them are successful at a young age like Griff (real name Sarah Faith Griffiths) is. The UK singer-songwriter is only 20 and it already a Brit Award-winner, and this year, she performed on two of the most recognizable TV shows in both the US and UK: Late Night and Later… With Jools Holland.

Now Griff is carrying that momentum further with a new single, the pop anthem “One Night.” Griff says of the track:

‘One Night’ is about feeling like you’re always carrying this darkness or burden. I think in the daytime we can feel distracted because we’re around people and we’re busy, but that moment between going to bed and falling asleep, there’s just enough silence for those burdens to get louder. Essentially this song is trying to understand why I can’t shake it, and the chorus comes to this breaking point of desperately wanting at least ‘One Night’ alone.”

Press materials also note the song is influenced by Griff’s “love of Whitney Houston and The Weeknd.”

Listen to “One Night” above.

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

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Megyn Kelly Is Getting Fact-Checked Over Her Unfortunate Tweet About Mental Health, ‘Snowflakes,’ And The Military

Megyn Kelly got absolutely eviscerated on Twitter on Thursday after tweeting out a weird and inaccurate take on “quiet rooms” at the U.S. Open. The former TODAY host was commenting on a Fox News report that the U.S. Tennis Association will be taking greater strides to focus on players’ mental health following Naomi Osaka’s withdrawal from the French Open. As part of the mental health initiative, “quiet rooms” will be provided for struggling athletes, which prompted Kelly to fire off an insult at U.S. Open players.

“Good Lord please never let the snowflakes who need this sign up for our military,” Kelly tweeted.

There was just one small problem with Kelly’s tweet. The military actually does provide quiet rooms.

“Quiet rooms have been part of the USMC Health Service Support Operations for more than 20 years,” journalist Timothy Burke replied while also providing documentation to support his claim. So, not a good look for Kelly.

Kelly’s tweet also spurred a significant amount of backlash thanks to her callous disregard for mental health sufferers, which also includes military members. She was voluminously dragged for the insensitive nature of her tweet as well as for using the term “snowflake” despite having a checkered past of feigning outrage at topics she disagrees with. For example, that time she argued that blackface isn’t racist. You know, things like that.

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David Duchovny Reveals How Scientology Tried To Recruit Him, And It ‘Didn’t Go Well’ (For Scientology)

David Duchovny’s lengthy TV stretches include a bifurcated role on FOX’s The X-Files as the alien-believing Fox Mulder. That doesn’t necessarily mean that he’s all up in the alien business, in real life, to the degree that he’d believe everything that, say, L. Ron Hubbard wrote. The sci-fi author notoriously (thanks to the Internet) penned the “scripture” upon which the Scientology religion (and many call it a “cult”) is based. There’s a particular passage of the organization’s lore, known as the “Xenu” story, that one only is supposed to hear once achieving a status called Operating Thetan Level III. That’s the same creation myth that South Park once skewered because it involves a blown-up volcano and disembodied alien souls possessing humans and all that jazz.

Well, Duchovny did not sign on to pay far too many thousands of dollars to read that story. He did, however, answer a question from The Daily Beast about how Scientology tried to recruit him. He’s careful to say how his good friend, ex-Scientologist Jason Beghe, “never tried to recruit me,” but someone tried to lure him in (during Beghe’s wedding reception), and then this happened:

I did go to [Jason’s] wedding at the Celebrity Centre in Los Angeles, and they made a play for me. I did squeeze the cans and I did a session on the E-meter, and I realized immediately, because they’re asking very personal questions, that they were gathering information that I didn’t want to give out to a stranger. So, the session didn’t go well. I didn’t play by the rule, and I never went back. And Jason, to his credit, never tried to recruit me. He only “recruited” me in the sense of saying, “This is great, and I think you should try it,” not anything harder than that.

Duchovny added that he and Jason “drifted apart” during his years in Scientology, which is how they do things because they consider those who aren’t in the organization to be “suppressive persons.” The Californication star also noted that Jason’s “vocabulary was different” and his views “had changed completely” during those years. However, it’s worth noting that Beghe left Scientology in 2007 and did a video interview in the aftermath. Within that deep dive, he revealed how he and David reunited to hang out, and David asked him what Scientology was really all about. Jason tried to explain the Xenu stuff, and then they both completely lost it, dissolving into laughter and rolling around on the floor with tears streaming down their faces. Good times.

(Via Scientology & Mark Bunker on Vimeo)