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Black Lives Matter Activist Greg Robinson On PBS’ ‘Tulsa: The Fire And The Forgotten’ And The Centennial Of The Race Massacre

Prior to HBO and Damon Lindelof’s Watchmen (2019), not many Americans knew much about the Tulsa Race Massacre. Heck, not many Tulsans knew too much about the mass tragedy either. As someone who grew up in Tulsa, I assure you that the events of May 31 and June 1, 1921 did not surface in my public-school history classes. What I did know about the event was through metaphorical whispers and through discussions with one witness to what happened on those days. And when I interviewed Watchmen star Tim Blake Nelson (who spent his formative years in Tulsa), his sentiment was the same. Quite simply, this Greenwood-district event — the total decimation of what Booker T. Washington dubbed as “Black Wall Street” and one of the most horrific instances of racially-motivated violence in U.S. history — was excised from the books. Lindelof became aware of the massacre after reading Ta-Nehisi Coates’ “The Case for Reparations” (2014) in The Atlantic. The rest is unearthed history, albeit still in process.

That unearthed history is literal (the digging for alleged mass graves) and a huge chunk of what a new PBS documentary, Tulsa: The Fire and the Forgotten (directed by Emmy-winning Jonathan Silvers), details while contextualizing the tragedy alongside systemic racism that persists today. The film duly dives into how hundreds of Black-owned businesses burned to the ground after a false accusation of violence against a Black man. All told, a violent white mob (which carried rifles and dropped firebombs) killed up to 300 Black Tulsa residents and left thousands without homes; and this documentary charts the Greenwood community’s resilience and ongoing efforts for renewal, justice, and reparations. The project features interviews with Greenwood descendants and several local leaders, including current Tulsa Mayor G.T. Bynum (a Republican), along with civil rights activists, including Greg Robinson II. We spoke with Robinson about this documentary (spoiler alert: he is not a fan of Bynum) and his hopes for the future.

Like many people (including Tulsans), I didn’t know massacre details until around the year 2000 when I spoke with Clyde Eddy, who claimed to have seen a mass grave being dug in 1921. What does the centennial most represent to you?

I’m glad to be talking to a Tulsan! Certainly, the one thing that this 100-year marker has done is that it has finally shone a light on this tragedy but also the greatness that was Black Wall Street. We can now get to work on doing something about it. That is the gift of this commemoration period. I am stressed about it, though, because it is not an anniversary of independence. It’s not something that great that happened. It’s actually the destruction of the American Dream and what was the Dream for those Black Freemen and what they built, and it is truly a reminder of the work that we have left to do. There’s been no justice, and part of why the silence is so maddening and so frustrating now is that we’re just beginning that fight for justice.

In this documentary, you discuss how reparations were flat-out (and stunningly) denied to survivors.

Yes, and when you understand how Black Wall Street was built, then you understand that there was [also] no payment for insurance claims, and there’s been no one held accountable from a criminal standpoint. Absolutely nothing. For me, yes, I am proud of what my ancestors built here. I’m happy that there’s finally a light on that, but my eyes are more focused on making sure that we do what’s right, specifically while the last survivors are alive. I do think about the fact that Mother Randall and Mother Fletcher are each 107 years old. Are we going to get justice for them while they’re still here to see it? For me, that’s at the heart of this moment.

People don’t understand why reparations are so important for this tragedy. Decades of business prosperity were wiped out for Black Tulsans, not only by the massacre but, later, as you described it, through “urban renewal.”

What people don’t realize a lot of times is that it was within the next decade, before 1930, that Greenwood actually came back. Because of the way the state was built at the time, you had 50 all-Black towns. So even though Greenwood was destroyed, you had city laws and policies that were put into place to make it difficult. Things like having to rebuild with fire-retardant materials, only two-story structures. Even though those were put into place to mitigate the rebuilding of Greenwood, it was rebuilt and thriving again by 1930. Actually, the height of its business success was in the late 1940s and early 1950s. It was then that this concept of “urban renewal,” or as we sometimes call it in the Black community, “urban removal,” began to occur. Greenwood was originally built in an area of downtown that was rife with manufacturing buildings, so it became easy to come in and blight out areas and use eminent domain and take that land for construction.

There’s still a very telling geographical dividing line in Tulsa, too.

To this day, Highway I-244 runs right through the Greenwood business district and community. We have to remember that Greenwood was 40 square blocks, and all that remains is one avenue. So for us, we try to tell the realization that it wasn’t just those two days that threatened to put the nail in the coffins of Black Tulsans, but it was the ensuing systemic racist policies, marked by things like urban removal in the 1960s, and we continue to be marked by racist and systemic policies that still see the northern part of Tulsa cut off from the city and every tangible data category, down to life expectancy, you see North Tulsans suffering. To this day, Kimberly, if you are born in North Tulsa like I was, you are at risk of living a decade less than somebody who’s born on the other side of town. I think that can directly be tied to racist policies like urban renewal.

To make things even more pronounced last year, Trump came to town amid protests of George Floyd’s death. In Tulsa, the Black Lives Matter mural on the street was the first one removed by a U.S. city after Juneteenth. So was there any element of surprise for you on how this went down, given the city’s history?

Let’s put that into context. Tulsa was also the place where Trump came to town to do his rally. And let’s remember that it was originally scheduled for the 99th anniversary weekend of the Tulsa Race Massacre. It was then moved but only to the weekend of Juneteenth. When we understand the white supremacist rhetoric that Trump provided, we also must understand that the city’s leadership, Mayor Bynum but also state leadership (including Governor Stitt), opened our state up during a time that lacked safety and also opened up our arms during a very sensitive time to someone who espoused safety for violence. That’s the very same type of violence that destroyed the Black Wall Street/Greenwood community in the first place. Saying all that, was I surprised that we would be the first in the country to remove it? No, I was not surprised because it was right in line with the protecting of white supremacist ideology that we’ve succumbed to in the past century.

In turn, that weekend’s events felt like a microcosm of what occurred throughout the U.S. in response to Black Lives Matter protests.

I was incredibly disappointed because this is an opportunity for Tulsa to be the city that we want to be and to correct the mistakes of the past and to do something and be a model of the rest of the country. Unfortunately, I see us wanting to talk the good game and say we want to move forward, say we want to be a more equitable city, say we wanna be inclusive, but we do not have the courage to stand up to white supremacy. And the reason that it bugs me is that it was a lack of courage to stand up to the Ku Klux Klan, it was a lack of courage to stand up to angry whites who were mobbing and rioting and burning and looting in 1921 that allowed the murder of Tulsans to occur, a century ago. What have we learned since then about standing up to white supremacy? That’s the frustrating question. Not just as a Black person but as a Tulsan and someone who loves this city, it just bugs me to the end. I wish we could be the model for the country, and I keep seeing us falling short of that mark.

Speaking of frustrating, I saw your Facebook post on Bynum and House Bill 1775, which limits the teaching of race relations in schools and which he supported. There are mixed feelings about him regarding his track record on race relations. On one hand (and as Bynum points out in this doc), he was (outwardly) the person who opened the investigation into alleged mass graves in 2018. But like you said, he doesn’t exactly push white supremacy away.

I think Mayor Bynum is a great politician. I was there when he first pronounced that he was opening the investigation, and the truth was that there was an article in the New York Times with Councilwoman Vanessa Hall Harper, calling for that to occur. I do want to name that. Like so many things in this country, we give white males a lot of credit for doing politically expedient things. I think he did a politically expedient thing then, and I’m on the citizens’ oversight board for that, and certainly, I appreciate him doing that because someone had to, but that doesn’t excuse the fact that — just a week ago — he, as a sitting member of the Tulsa Race Massacre Commission, looked at HB 1775 and, in his words, told those of who were opposing that bill, including his own commission, that they need to read the bill, that it’s no big deal, and he agreed with Governor Stitt signing it. So it’s an example of his politically motivated actions. I would ask the country to look at the timing of when Mayor Bynum has done certain things. He will say one thing to get Black voters on his side. As soon as an election is over, he begins to push a more conservative-sympathetic type of narrative. He’s done the same thing with police reform.

Are you speaking about the Tulsa police shooting of Terence Crutcher?

He came to the home of Terence Crutcher’s family. He sat with them and said, “I’m going to do everything to bring your family justice.” For four years, he had the opportunity to do that, to bring police reform and justice to that family, but over and over again, he’s sided with the Fraternal Order of Police. He’s been on national TV, disparaging Terence Crutcher, saying that his death was caused by a drug addiction and not by a police officer, so I don’t have any more empathy for Mayor Bynum. He was in the seat of power, and he could have done something, and he’s shown what he cares about. That’s not about advancing racial equity for Black Tulsans, it’s about advancing his political career. And I harken back to the words of Martin Luther King, who at one of his lowest moments, sitting in a Birmingham jail, that it is not the Ku Klux Klanner that is the African American’s greatest stumbling block but the white moderate, who is more devoted to order than to justice. To me, Mayor Bynum and many of our Republican officials right now really embody that white moderate mindset. I’m not calling them racist, but I am saying that they sympathize with white supremacy and allow it to permeate, and the people that it is coming back is Black Tulsans, the very people that the state system has kept back most since it became a state.

It’s time for us to wrap, but during last year’s Juneteenth events, you declared, “I’m sick and tired of being sick and tired.” Do you ever envision a time when you’re able to no longer be sick and tired?

You know, I was having a conversation with Terence Crutcher’s twin sister, Dr. Tiffany Crutcher, who started his foundation, and we were talking about reaching that mountaintop. She simply reminded me that we might not reach it, and that’s not our job. Our job is to fight like hell for justice every day and to let God do the rest. I think that’s the spirit that Fannie Lou Hamer had when she said those words, and I think that’s the spirit that all of us have to carry with us.

PBS’ ‘Tulsa: The Fire and the Forgotten’ will air at 9:00pm EST May 31.

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Indiecast Reviews New Albums From Olivia Rodrigo And Black Midi

Last week, Olivia Rodrigo released her highly anticipated debut album Sour. The full-length effort includes three absolutely massive singles, and sets Rodrigo as one of the biggest stars on the plant. However, much of the critical discourse that usually holds weight online was slightly lukewarm. On this week’s episode of Indiecast, Steve and Ian dig into Sour, and the confounding divide between critics and fans.

Later in the episode, the duo also discuss Cavalcade, the new album from English experimental rockers Black Midi. In the midst of an era of music consumption that gives listeners exactly what they want, Black Midi is the rare rock band with a significant profile that is unafraid of irritating people. At a time when boundless musical comfort food is at our fingertips, the buzz around the group is equal parts confusing and exciting.

In this week’s Recommendation Corner, Ian is plugging I Won’t Reach Out To You, the new EP from Michigan punks Hot Mulligan. Steve wants listeners to check out his recent interview with Michelle Zauner of Japanese Breakfast, whose forthcoming Jubilee is a big contender for indie album of the year.

New episodes of Indiecast drop every Friday. Listen to Episode 40 on Apple Podcasts and Spotify below, and subscribe wherever you get your podcasts here. Stay up to date and follow us on Instagram and Twitter. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

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BTS Start Their Day By Performing ‘Butter’ And ‘Dynamite’ On ‘Good Morning America’

BTS have a real song of the summer contender with their new single “Butter,” and they earned some points on that front this morning by kicking off the Good Morning America summer concert series. The group started their morning (well, technically, this morning was nighttime in South Korea) with performances of “Butter” and “Dynamite” for the show.

They also did some interviews on the show and revealed the biggest inspiration behind their songs, saying, “So basically, thinking of Army, that’s the biggest inspiration.” They also discussed how they passed the time while they quarantined together during the pandemic: “Sleeping, eating McDonald’s, making ‘Dynamite,’ working on ‘Butter,’ somebody watering the plants, painting, playing guitars… we did everything.” The group also spoke about how the immediate success of “Butter” feels, saying simply, “It feels great to see people all around the world enjoy enjoy it so much.”

The group’s recent Guinness World Records were also mentioned. It was confirmed recently that “Butter” set the record for the most viewers on a YouTube music video premiere with 3.9 million concurrent viewers. The video also set the records for the most YouTube video views in 24 hours with 108,200,000 views, and the most viewed YouTube music video in 24 hours by a K-pop group.

Watch clips from BTS’ Good Morning America appearance above and below.

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‘Black Panther’ Star Danai Gurira Will Reportedly Star In An ‘Origin Spinoff Series’ For Disney+

As Marvel continues to expand its presence on Disney+, a new casting report continues to highlight just how committed the MCU is to keeping its film and TV series intertwined. According to The Hollywood Reporter, Black Panther star Danai Gurira will reprise her role as Okoye, the head of Wakanda’s fierce Dora Milaje, in an “origin spinoff series” on top of her previously announced role in the film’s sequel, Black Panther: Wakanda Forever.

Here’s where the confusion kicks in. The announcement was tucked inside a THR profile on the top Hollywood power lawyers and was only a small line in the blurb for attorney Jamie Mandelbaum, who helped brokered the deal for Gurira to star in the series. Outside of that, there’s no other information, and the ever secretive Marvel has not responded to comment. Given the aggressive push for content on Disney+, there’s a possibility that Gurira is simply headlining the previously announced Wakanda-centered series, or maybe she’s getting her own series that’s completely focused on Okoye.

However, what the casting news does signify is that Marvel is still fully invested in the world of Wakanda despite the tragic loss of Chadwick Boseman. Black Panther: Wakanda Forever, the sequel to the breakout first film and global phenomenon, is still moving ahead, and the original cast have spoken candidly about how dedicated they are to making sure the film honors Boseman’s legacy.

“It feels spiritually and emotionally correct to do this,” Lupita Nyong’o recently told Yahoo. “And hopefully, what I do look forward to, is getting back together and honoring what he started with us and holding his light through it. ”

(Via The Hollywood Reporter)

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How Netflix And ‘OITNB’ Changed What Dramedies Look Like On TV

Nearly a decade ago, Netflix took a chance on a prison dramedy that sought to fundamentally change our perception of women living behind bars. It was a big swing for a still-in-its-infancy streaming platform that was already swimming against the tide of weekly network formulas, a practical hail-mary when you considered who and what the show was about.

We’d seen prison dramas on TV before, of course, but those were testosterone-packed prestige outings and cliffhanger-infused escapist plots — shows that almost solely focused on male, often white, protagonists with a hand so heavy, we’re surprised the words “awards bait” didn’t come stamped on every episode script. But Orange Is The New Black was different, other, a rare unicorn of a show that dared to expand the kind of characters and storylines we’d come to expect from the “prison genre.”

It’s just too bad we never quite knew how to define it.

There are differing opinions on when the word “dramedy” emerged as a catch-all term for TV shows that failed to conform neatly to the boxes of “comedy” and “drama” that awards voters had long used to qualify them. Some might point to Norman Lear, others to Bruce Willis and Cybill Shepherd in Moonlighting but few shows have asked us to question the methods by which we categorize stories on TV quite like OITNB. In fact, early in its run, the acclaimed Netflix series faced serious issues earning a spot at the table come awards season because voters just couldn’t decide how to define it.

A mix of gallows humor and intense, heartwrenching character beats, OITNB used its main character, a WASP from New York City named Piper Chapman (Taylor Schilling), as a “trojan horse” for the more interesting, radically progressive storytelling it desperately wanted to tell. Chapman was a well-to-do white woman, about to serve time for her involvement in a drug smuggling case that took place a decade prior to the start of the show. Her fish-out-of-water status in those early episodes helped us all acclimate to the jarring realities of life behind bars — the cold showers, the strange bunkmates, the threat of a graphic reminder lurking in your morning English muffin should you insult the line cook. Chapman was a privileged elitist, performatively woke but woefully ignorant when it came to her own prejudices, something that grew more grating as time went on — but she’s also how most of the humor that helped to establish those first few seasons of the show was mined and delivered to audiences.

After all, the average viewer tuning into Jenji Kohan’s semi-biographical examination of the prison industrial complex had never stepped foot in this kind of closed ecosystem before. Maybe they were expecting a gladiator-style arena with dangerous women constantly at each other’s throats, or the kind of line-drawing gang wars that seemed to populate so many male-centric sagas behind bars. Instead, they were treated to something revolutionary — and authentic, unexaggerated peek into the domestic squabbles and inhumane injustices that didn’t feel all that removed from everyday life.

But it was Piper’s “babe-in-the-cell-block-woods” attitude that sold that introduction, at least comedically. We laughed as she bemoaned the very real possibility she might be forced to brawl with an elderly Russian cook with back issues, we cringed as she endured the Shakespearean love sonnet enthusiastically performed by Suzanne “Crazy Eyes” Warren (Uzo Aduba). We may have even felt a twinge of sympathy before snickering at how she was forced to clean up someone’s bodily fluids with generic maxi pads. And if the inherent comedy, the situational ridiculousness of that initial run blinded us a bit to the trauma and hardship these women faced, subsequent seasons made sure to remind us that OITNB was funny, yes, but it also packed a hell of a dramatic punch.

The show achieved that feat in a variety of ways. Its biggest change was diverting attention away from Piper’s continuous struggles to acclimate and divvying it up amongst a cast whose diversity still feels revolutionary to witness on TV, even eight years later. We learned more about these women with Kohan relying heavily on flashbacks to give their stories weight. We connected with Nicky (Natasha Lyonne) as her struggles with addiction and an uncaring mother were laid bare. We broke for Poussey (Samira Wiley) whose strict military upbringing conflicted with her choice in romantic partners. We felt as frustrated and disillusioned with the notion of the “American dream” as Sophia (Laverne Cox) when she resorted to credit card theft in order to pay for her hormone therapy and gender reassignment surgery. We questioned everything we thought we knew about the bubbly, lovable Morello (Yael Stone) when it was revealed she’d fabricated a happily-ever-after ending with her ex that saw her breaking into his house, taking a bath, and trying on his wife’s clothes.

Kohan has said these flashbacks were a way to break up the monotony of shooting, a way to give her cast a chance to break free (metaphorically) from behind bars a bit during the months-long filming schedule. But they also challenged the expectations that accompanied the comedy label the series had been saddled with. We weren’t just laughing at the bizarre antics of Crazy Eyes — now we were coming to terms with how inherited prejudice and outdated ideas about mental illness can have lasting consequences on those who need help the most. We weren’t just cheering on Red (Kate Mulgrew) as she chased down chickens and put prisoners in their place — we were beginning to understand the insecurities and mob-like mentality that followed her from her days working a deli and storing corpses in the freezer for the Russian mafia.

Women we initially labeled as unlikable proved they were as layered and complex as the main players, deftly switching from comedic to dramatic beats within single episodes, or drawing those reveals out with longer-running arcs. From Piper and Pennsatucky’s (Taryn Manning) divine showdown following a Christmas pageant-gone-wrong to Suzanne’s final lines despairing that she hadn’t done enough to prepare her prison chickens — who had been used to traffick drugs by other inmates — for life on the outside, OITNB consistently displayed its knack for blending the kind of searing, undeniable pathos of other prestige dramas with the bleak, oddball humor you’d expect on a show whose only currency was laughs.

That might be why awards shows like the Emmys had such trouble deciding where these women with their raunchy humor and emotional gravitas, their ability to deliver scathing indictments of the prison pipeline one minute, before using a days-long prison riot to start their own Youtube channel the next, belonged. In 2015, the Emmys decided to label OITNB a drama, despite its success in the comedy category two years prior. That decision came on the heels of other dramedies like Shameless, Glee, and Jane the Virgin, successfully appealing to be considered in the comedy category, despite their hour-long run-time.

The outrage may have felt needlessly sill at the time. After all, OITNB went on to become the only show to win in both the Comedy and Drama categories at the Emmys with Uzo Aduba earning hardware for her performance as Suzanne in both categories in back-to-back seasons. But it did matter. It mattered then because the switch-up meant OITNB would compete against dark, dramatic epics like Game of Thrones and cerebral political offerings like House of Cards, which felt like an unfair lineup of worthwhile TV to be compared to. It matters now because, nearly a decade later, we still don’t know how to define OITNB, and the many shows that have followed in its footsteps — at least when it comes to critical recognition.

When we think of Atlanta or Dead To Me, of Killing Eve or Fleabag, we face the same dilemma that haunted OITNB its entire run. Are they comedies, dramas, or something in-between, something that nimbly toes the genre line to create new means of storytelling and new opportunities for underserved voices to be heard? We should be rewarding these shows that defy convention — often at the expense of critical accolades come awards season — because the more they’re recognized, the easier it is for more of their ilk to get the green light.

Netflix and OITNB may have changed how we think of comedy, drama, and the complicated stories of women who behave badly but we still have a lot of work to do when it comes to critically acknowledging that change. Hopefully, for the shows that follow in its footsteps, we won’t take so long.

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Taylor Swift Explains How ‘Folklore’ Was An ‘Emotional Life Raft’ During The Pandemic

Taylor Swift had a handful of nominations at the 2021 iHeartRadio Music Awards last night, and she managed to pull out the win in the Best Pop Album category, for Folklore. During her pre-taped acceptance speech, she explained how the album was an “emotional life raft” for her during the pandemic:

“Thank you so much for this award and for honoring an album that I am so proud of. I have to say thank you to everyone at iHeart and everyone at radio who supported Folklore. Folklore was an album that I made in the very beginning of the pandemic. I started writing it, and I feel like it became a sort of emotional life raft for me to pour my feelings into.”

She also thanked Aaron Dessner and Jack Antonoff, whose creativity she says “has completely changed my life.” Swift concluded with gratitude for her fans: “I have to say thank you to the fans for making this album what it was. We all needed to escape into stories, whether movies or TV or film or music, and the fact that you chose this album, I am so honored by that. You really wrapped your arms around it. Someday we’ll get to wrap our arms around each other when we see each other again.”

Check out Swift’s full acceptance speech below.

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‘Dexter’ Reflects On His Serial-Killing Urges In A Snappy New Showtime Teaser

Everyone’s favorite serial killer is getting along quite well in his new environment, if Showtime’s new Dexter revival teaser is any indication. Bye bye, lumberjack vibes, and hello, man about town. Dexter’s hopefully going to eventually get the ending that he ​so richly deserves, but before that happens, he’s entirely given up Miami vibes for upstate New York. Presumably, no one in his new town knows that he used to collect blood slides like comic book issues, and in this teaser, he’s enjoying himself, greeting fellow residents on the street, possibly en route to his new job (Fred’s Fish & Game) with a new name (Jim Lindsay) that might be a nod to Jeff Lindsay, the author of the Dexter novels.

As this teaser shows, though, Dexter can’t run away from his past forever. He pauses to look into a store window while gazing at a pair of knives with a sharp intake of breath. Obviously, he’s reflecting upon his true nature, and possibly thinking about the good times or missing Hannah, and maybe — just maybe — he’s mulling over how he could get away with discreet murder. As a previous teaser indicated, Dexter hasn’t given up the life, and I suppose the juiciest question about the revival is exactly how long it will take him to give into his Dark Passenger.

Beyond that pressing issue, we can continue to speculate whether any O.G. characters might return at all. There’s been contradictions aplenty on that issue, although it would be the right call to not transplant Miami residents to New York. Debra doesn’t count, though, right? She’d be perfectly welcome as a ghostly presence or a flashback companion or any incarnation in which she can live rent free in Dexter’s head, despite what James Remar is telling everyone. Respect the code, Dad.

The Dexter revival will likely arrive in late 2021.

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Los Angeles Clippers At Dallas Mavericks Game 3 TV Info And Betting Lines

The Dallas Mavericks entered their first round clash against the Los Angeles Clippers in an underdog position. While the Mavericks likely didn’t view themselves through that prism, the Clippers seemingly tanked their way into the 4-5 matchup and, in short, Los Angeles seemed to be in a relatively strong position. However, Dallas had other ideas, taking a 2-0 series lead behind the stellar play of Luka Doncic and an offense that has consistently outclassed the Clippers’ defensive resistance.

Clippers head coach Tyronn Lue and star Paul George were both quick to assert that the team isn’t overly concerned with a 2-0 deficit. With that said, Game 3 is now a complete and utter must-win for Los Angeles, and that isn’t an ideal place to be on the road against a hot opponent. On the more favorable side, the Clippers have scored more than 1.2 points per possession in the first two games, scoring at a level that should be more than enough to sustain overall success. Los Angeles has been wholly unable to generate stops, though, and that provides optimism for Dallas.

Doncic has been the best player in the series, averaging 35.0 points, 9.0 assists and 8.5 rebounds per game and exploiting inconsistencies in the Clippers’ defense. It remains to be seen as to how Los Angeles may adjust, but Dallas is scoring nearly 1.3 points per possession through two games, and the Clippers have been left befuddled in their communication on multiple occasions.

From a betting standpoint, Game 2 went Over the total of 216 points and Dallas covered the closing point spread of 7 points as an underdog.

Game 3 TV Info

Tip Time: Friday, May 28; 9:30 p.m. ET
TV Network: ESPN

Game 3 Betting Lines (via DraftKings Sportsbook)

Series Prices: Mavericks (-250), Clippers (+200)
Spread: Clippers -2 (-109), Mavericks +2 (-113)
Total: Over 219.5 (-112), Under 219.5 (-109)
Money Line: Clippers (-125), Mavericks (+105)

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Here’s Everything New On Netflix This Week, Including More ‘Ragnarok’ And ‘The Kominsky Method’

Netflix takes us into Memorial Day weekend with plenty of content to occupy your time, should you grow weary of the cookout thing or, in the alternative, if you’re still sticking to social distancing. This week, the platform fires up followup seasons to two (very different) fan-favorite series. There’s also a tantalizing food series and a family film on the way, along with a spooky movie that might make you forget that we’re sitting on the verge of summer. And in case you missed it last weekend, Aziz Ansari has returned after an extended, largely self-imposed hiatus from the Internet. In other words, the streaming service is as stacked as always, and we’re the lucky beneficiaries.

Here’s everything else coming to (and leaving) the streaming platform this week.

Ragnarok: Season 2 (Netflix series streaming on 5/27)

This coming-of-age drama with a Norse mythology framework returns to show us more gloriously breathtaking Norwegian slices of nature. Unfortunately, not all goes smoothly, given that the residents of Edda are dealing with the effects of climate change, including melting poles, warm winters, and drastic, unpredictable changes in weather. Mysterious inhabitants turn this into a bit of a cautionary tale and a lot of entertainment.

The Kominsky Method: Season 3 (Netflix series streaming on 5/28)

The Michael Douglas and Alan Arkin-starring, Golden Globe-winning series reaches its final planned season with some heavy themes — money, death, love, murder, and the realization of dreams — at the forefront. An ex-wife and other family issues (including a contribution from Paul Reiser) continue to make everything more complicated than it needs to be, but the show’s audience knows this drill, and they’re here for it.

Master of None: Season 3 (Netflix series streaming on 5/23)

It’s been (four) years since we’ve seen Aziz Ansari’s brainchild do its thing, and that’s not even (officially, at least) down to the pandemic. Ansari’s been largely out of the public eye following sexual misconduct allegations, although he did emerge a few years ago for an insightful comedy special that goes a long way to show that gazing inward, and this season, the co-creator’s taking a step behind the camera to direct in a wonderful season that he cowrote with the Emmy-winning Lena Waithe, whose character (Denise) moves from the sidelines to the forefront to focus on her relationship with Alicia (Naomi Ackie).

High on the Hog: How African American Cuisine Transformed America (Netflix series streaming on 5/26)

Food writer Stephen Satterfield takes a powerful voyage to discover the resourcefulness and straight-up artistry of the African American people. He draws upon knowledge from chefs, historians, and activists to do so, and the results are mouthwatering.

Ghost Lab (Netflix film streaming on 5/26)

Two medical doctor BFFs witness a “ghost” while conducting a research experiment about life after death. This leads them down a rabbit hole of attempting to find a scientific explanation for what they’re seeing, and this obsession could have far-reaching implications for their friendship and beyond.

Eden (Netflix series streaming on 5/27)

A city called “Eden 3” is filled with robots who no longer have human-boss types, which means that many robots now believe that humans never really existed at all and are only a myth. Naturally, a human baby girl shows up and throws their worldview into disarray.

Here’s a full list of what’s been added in the last week:

Avail. 5/21
Army of the Dead
Jurassic World Camp Cretaceous
: Season 3
The Neighbor: Season 2

Avail. 5/22
Sam Smith: Love Goes – Live At Abbey Road Studios

Avail. 5/25
Home

Avail. 5/26
Baggio: The Divine Ponytail
High on the Hog: How African American Cuisine Transformed America
Nail Bomber: Manhunt

Avail. 5/27
Black Space
Blue Miracle
Eden
Soy Rada: Serendipity

Avail. 5/28
Dog Gone Trouble
Lucifer
: Season 5 Part 2
The Kominsky Method: Season 3

Avail. 5/31
Dirty John: The Betty Broderick Story

And here’s what’s leaving next week, so it’s your last chance:

Leaving 5/31
50 First Dates
Act of Valor
All Dogs Go to Heaven
The Blair Witch Project
Brokeback Mountain
The Boy
Deliver Us from Eva
The Help
I Now Pronounce You Chuck and Larry
Julie & Julia
Marauders
Milk
Miracle
National Lampoon’s Christmas Vacation
Prosecuting Evil: The Extraordinary World of Ben Ferencz
The Pursuit of Happyness
The Scorpion King 2: Rise of a Warrior
The Scorpion King 3: Battle for Redemption
Soul Surfer
Striptease
Waiting…

Leaving 6/1
Alone: Season 6
Mother Goose Club: Seasons 1-2

Leaving 6/4
Hannibal: Seasons 1-3

Leaving 6/6
Searching for Bobby Fischer

Categories
News Trending Viral Worldwide

Lil Nas X Wants His Next Music Video To Be ‘Crazier’ Than His Other Ones

The 2021 iHeartRadio Music Awards were last night and so many of the biggest music stars were on hand. That included Lil Nas X, who wasn’t up for any awards but was there to present Elton John with the 2021 iHeartRadio Icon Award (alongside Coldplay’s Chris Martin). At one point during the evening, Lil Nas X took a couple minutes for a red carpet interview with Variety, and he spoke about his head-turning hopes for his next music video.

During the brief chat, he was asked how he plans to out-do “Montero (Call Me By Your Name)” and his previous attention-grabbing visuals. He responded, “I want to do something in a different lane that’s crazier. I’m not sure what yet, but that’s for when I make a main single or something, you know?”

He also spoke about how he felt during his famous pants-splitting incident while performing on Saturday Night Live, saying, “I was quite terrified, but I was like, ‘The show must go on… I hope my goodies aren’t on TV right now.’” As for the current location of those now-iconic pants, he said, “I think they’re still in New York being shipped here. We have to put them in a museum one day.”

The rapper closed with a message for LGBTQ kids who might be facing struggles: “You f*cking rock, f*ck everybody else.”

Watch the interview here.

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