Category: News

Netflix is cruising into summer with more than the traditional action fare that we typically see in theaters. Of course, this year is anything but typical, and the streaming service is determined to give us more content than we could possibly dream of consuming. It’s a wonderful dilemma to have, and there’s a ton of variety coming this month, including a few Sailor Moon movies and four other projects that we’ve highlighted below, along with including the entire list of massive offerings from Netflix.

The most bingeworthy selections here include a return of the French gentleman thief that captivated audiences earlier this year. We’ll also see the launch of a Robert Downey Jr.-produced fantasy-adventure, comic-book adaptation series, and Kevin Hart gets down in a project that’s very unlike what you’ve seen him do before now. A sleeper zombie-apocalypse show also returns for more scrambling-scavenger madness, and in short, you will probably not regret investing time on any of these four top picks.

Here’s everything coming to (and leaving) Netflix in June.

Lupin: Part 2 (Netflix series streaming 6/11)

This (the fancy French heist show starring Omar Sy) turned out to be a smash hit for Netflix in January. The overwhelming reaction even led the streamer to hustle fast to release Part 2, so that everyone could see how the beloved gentleman burglar would take revenge (against Hubert Pelligrini) for the abduction of his son, and by the way, we could probably use a lot more heisting as well? Give it to us. Of course, after that train-station switcheroo in last season’s finale, we can expect police to redouble their efforts. So, Assane reenters as the most wanted man in France, and of course, he’ll tempt fate while executing a new plan that puts himself at risk. Along the way, black tie events, high-speed car chases, speeding motorboats, thrown punches, and a trip to the catacombs are in the cards. Everyone will eventually learn that they should never underestimate our protagonist because, my god, he never runs out of energy or ingenuity. “Nothing but magic,” as we hear Omar Sy say at the end of the trailer.

Sweet Tooth (Netflix series streaming 6/4)

Team Downey (Robert Jr. and Susan) brings us this awe-inspiring story based upon a comic-book (that ran under DC’s Vertigo imprint) by creator Jeff Lemire, who whipped up a post-apocalyptic fairytale about what happens when a great sickness (which is poorly dealt with by humans) ends with a miracle. In this case, this would be the appearance of “hybrids,” babies who are born half-human and half-animal, and we’ll meet a young deer-boy, Gus, (Christian Convery), who teams up with a reluctant protector, Tommy Jepperd (Nonso Anozie), for a cross-country quest. The comic has been described as “Mad Max Meets Bambi,” and Will Forte also plays a small role. You’re in for a real (sweet) treat if you surrender to this adventure.

Black Summer: Season 2 (Netflix series streaming 6/17)

Netflix hasn’t yet released the trailer for this zombie series’ sophomore season, so please enjoy revisiting the trailer for the show’s debut, which ended up being the show that Fear The Walking Dead fans would have preferred before the AMC spinoff series improved dramatically this year. With that said, this is a quick-and-dirty crowd pleaser of a series, which includes the obligatory “guy who tries to hide his zombie bite” moment while attempting to flee to safety within a crowd of survivors. How that’s handled is necessarily brutal, as is the rest of the series, and expect a new batch of episodes full of cold-blooded fresh challenges while violent militias get down with their bad selves.

Fatherhood (Netflix film streaming 6/18)

Kevin Hart puts away the funnyman vibes (well, at least partially) for this rather serious take on fatherhood. The laughs that do occur will be both bittersweet and heartwarming, given that Hart plays a widower who must learn to raise his daughter all by himself. The trailer reveals that he’s taking a swing at honest-to-god acting, and this film is part of Netflix’s promise to release at least one original film per week for the whole of 2021. That’s quite a feat, and this movie will be a nice break from the non-stop action movies that traditionally fill the summer schedule.

Here’s the full list of titles coming to Netflix in June:

Avail. TBA
Ali & Ratu Ratu Queens
Jiva!
Ray
Record of Ragnarok
So Not Worth It

Avail. 6/1
Super Monsters: Once Upon a Rhyme
Abduction
American Outlaws
Bad Teacher
Black Holes | The Edge of All We Know
CoComelon: A Sunny Day for Play
Cradle 2 the Grave
Flipped
Fools Rush In
Happy Endings: Season 1
Happy Endings: Season 2
Happy Endings: Season 3
I Am Sam
Love Jones
Million Dollar Baby
Ninja Assassin
Seven Souls in the Skull Castle: Season Moon Jogen
Seven Souls in the Skull Castle: Season Moon Kagen
Stand by Me
Starsky & Hutch
Streets of Fire
Swordfish
The Adventures of Sonic the Hedgehog: Season 1
The Best Man
The Big Lebowski
The Wedding Guest
The Wind
What Women Want

Avail. 6/2
2 Hearts
Alone: Season 7
Carnaval
Kim’s Convenience: Season 5

Avail. 6/3
Alan Saldaña: Locked Up.
Creator’s File: GOLD
Dancing Queens
Pretty Guardian Sailor Moon Eternal The Movie: Part 1 / Part 2
Summertime: Season 2

Avail. 6/4
Breaking Boundaries: The Science of Our Planet
Feel Good: Season 2
Sweet Tooth
Trippin’ with the Kandasamys
Xtreme

Avail. 6/5
Kitty Love: An Homage to Cats

Avail. 6/7
Vampire Academy

Avail. 6/9
Awake
Fresh, Fried & Crispy
L.A.’s Finest: LA’s Finest: Season 2
Tragic Jungle

Avail. 6/10
A Haunted House 2
Camellia Sisters
Locombianos

Avail. 6/11
Love (ft. Marriage and Divorce): Season 2
Lupin: Part 2
Skater Girl
Trese
Wish Dragon

Avail. 6/13
The Devil Below
Picture a Scientist

Avail. 6/14
Elite Short Stories

Avail. 6/15
FTA
Let’s Eat
Life of Crime
Power Rangers Dino Fury: Season 1
Rhyme Time Town: Season 2
Sir! No Sir!
Unwind Your Mind
Workin’ Moms: Season 5

Avail. 6/16
Lowriders
Penguin Town
Silver Skates

Avail. 6/17
Black Summer: Season 2
The Gift: Season 3
Hospital Playlist: Season 2
Katla
Silver Linings Playbook

Avail. 6/18
A Family
Elite: Season 4
Fatherhood
Jagame Thandhiram
The Rational Life
The World’s Most Amazing Vacation Rentals

Avail. 6/19
Nevertheless

Avail. 6/22
This Is Pop

Avail. 6/23
Good on Paper
The House of Flowers: The Movie
Murder by the Coast
Too Hot to Handle: Season 2

Avail. 6/24
Godzilla Singular Point
The Naked Director: Season 2
The Seventh Day
Sisters on Track

Avail. 6/25
The A List: Season 2
The Ice Road
Sex/Life

Avail. 6/26
Wonder Boy

Avail. 6/28
Killing Them Softly
The Seven Deadly Sins: Dragon’s Judgement

Avail. 6/29
StarBeam: Season 4

Avail. 6/30
America: The Motion Picture
Lying and Stealing
Sophie: A Murder in West Cork

Here’s the full list of titles leaving Netflix in June:

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

Leaving 6/9
Portlandia: Seasons 1-8

Leaving 6/17
Bob Lazar: Area 51 & Flying Saucers

Leaving 6/21
Dark Skies

Leaving 6/26
The Secret Life of Pets 2

Leaving 6/27
20th Century Women
Tales of the City (1993): Season 1

Leaving 6/28
Bratz: The Movie

Leaving 6/30
30 Minutes or Less
A Bridge Too Far
Acts of Violence
Back to the Future
Back to the Future Part II
Back to the Future Part III
Bonnie and Clyde
Cloudy with a Chance of Meatballs
Crazy, Stupid, Love
Enter the Dragon
Fiddler on the Roof
From Paris with Love
Gothika
Immortals
Invictus
Jason X
Leprechaun
Scarface
Tayo the Little Bus: Seasons 2-3
The Accountant of Auschwitz
The Girl with the Dragon Tattoo
The Land Before Time
The Land Before Time II: The Great Valley Adventure
The Roommate
The Twilight Zone (Original Series): Seasons 1-5
Training Day
Twin Peaks: Seasons 1-2
Two Weeks Notice

After contributing to the group success of Spillage Village’s spiritual 2020 album Spilligion, mystic crooner Mereba is preparing for the release of her EP AZEB. Today, she released the video for the lead single, “Rider,” in which she describes the search for a limitless but meaningful love — someone who will be there through thick and thin, ie., a “rider.” The video is a sun-washed representation of such a love, with couples dancing in the desert as Mereba sings before a picturesque sunset.

Although Mereba is likely still best known for her contributions to Spillage Village songs like “Hapi” and her recent appearance on Reason’s “Westside,” she’s a more than accomplished artist in her own right. Her 2019 debut album The Jungle Is The Only Way Out was hailed by those in the know, and with R&B’s increased prominence in the pop culture landscape, it’s only a matter of time until she receives commensurate notice for her solo talents.

In a recent interview with Vince Staples, with whom she collaborated on the Queen & Slim soundtrack song “Yo Love,” she described the process of recording the upcoming EP:

It’s called Azeb, which is my middle name, and the name that my father called me. It’s an Ethiopian name… People passing through a town or village and asking, “How do I get to this region of Ethiopia?”—they’ll use the word “azeb” and point to a place in the sky. I felt as I was writing songs last year that they were helping me figure out and sort through the things I was feeling about what was happening in the world. They started being my guide. I was also inspired by Nina Simone, who said, “It’s an artist’s duty to reflect the times.” I always end up putting current events, or things that are happening in the world, into my music. But this project also encompasses the more universal parts of human existence, like being in love and being hopeful in the midst of whatever else is going on, because that’s a survival tactic, to have hope and faith that things are going to get better.

Watch Mereba’s “Rider” video above.

Disney+ has been slowly pulling back the curtain on its upcoming Marvel series, Loki, and now, fans are finally starting to get some answers about the weird animated clock that’s been showing up in promotional materials. In a new teaser specifically titled “Miss Minutes,” Tom Hiddleston’s Loki receives instructions from the (chipper) cartoon clock as it speaks amid the ominous ambience at the Time Variance Authority. Even the centuries-old Trickster God is freaked out by his predicament as he gets stripped naked and watches as his fellow “inmates” are instantly vaporized for the smallest infraction.

The minute-long teaser also packs a surprising amount of action (and comedy) into the short clip as it provides an even deeper look into the TVA headquarters. That’s where Owen Wilson’s Agent Mobius is hoping to use Loki to fix the timeline, which he ruptured when he stole the Tesseract in Avengers: Endgame and remained on the loose.

Basically, Loki jacked up time, but there are very understandable concerns at the TVA about trusting him to make things right. However, the new teaser further reinforces that Wilson’s Agent Mobius seems to trust the God of Mischief completely and even hands him his trademark knives without reservations, although Loki is relieved of those knives by another TVA agent who knows better than to trust the silver-tongued Asgardian.

Loki premieres Wednesday, June 9 on Disney+.

Last Friday, J. Cole released his long-awaited album The Off-Season after coming off the warmly received Dreamville compilation Revenge Of The Dreamers and a string of projects that have endeared him to fans as they’ve alienated him from critics. This Friday, Zack Snyder will see the release of his long-awaited return to the zombie genre, Army Of The Dead on Netflix after coming off the warmly received Justice League redemption experiment “The Snyder Cut” and a string of projects that have endeared him to fans as they’ve alienated him from critics. I like cosmic coincidences like this because they make it so much easier to illustrate the lines of thinking that lead to someone (me) declaring J. Cole “the Zack Snyder of hip-hop.”

By now, there are enough reviews of The Off-Season out to make some general observations. While Cole’s fans were obviously very excited about the project, running up its streams enough to make it an early frontrunner for best-selling album of the year, many critics were… shall we say “lukewarm” on the whole affair. The thing is fine and serviceable and even pretty good a bunch of times but the response is disproportionate to the craft. I suspect something very similar will happen with Army Of The Dead this week, as Snyder’s very own army of fans keep it somewhere in Netflix’s top 5 over the course of the weekend while any critics who didn’t get advance screeners will probably question its dialogue, plotting, and the general ludicrousness of its premise, which is that zombies are not just undead, but also have their own society and are kinda hot. Trust me, it gets weird.

That’s certainly the response I saw to the Justice League Snyder Cut, which was four hours long when it didn’t need to be and the nicest thing anyone could find to say about it was that it made more sense than the theatrical version. Ask a random comic book movie fan on Twitter, though — or worse, deign to point out the many, many flaws still readily apparent in the still incredibly drab, self-serious, and borderline pretentious (*ancient lamentation intensifies*) production — and those fans will talk about it like it’s the pinnacle of filmmaking and woe be unto anyone who even thinks of disagreeing. There’s a similar effect with Cole fans, who are nearly guaranteed to accuse you of being Lil Pump’s biggest fan if you express your legitimate quibbles with his work (apparently, they didn’t get the memo that that particular “beef” is over).

Meanwhile, rewinding all the way back to each auteur’s breakthrough work, the parallels multiply. When J. Cole dropped The Warm Up way back in 2009, it was hailed as a smart update on the lyrically-focused, socially conscious backpack rap that had obviously inspired it. Likewise, the 2004 remake of Dawn Of The Dead wowed audiences with its terror-inducing fast revenants, modernizing — and dare I say, resurrecting — a desiccated genre for a more cynical generation. However, both works had their detractors, too. For as beloved as Cole’s mixtape was, there were some who thought it lacked substance in favor of recreating the late ’90s aesthetic the rapper so obviously worshipped, without the incisive insights and unpredictable wit of the projects it aped. Dawn Of The Dead, likewise, was considered inferior to the 1978 George Romero original, which had the benefit of Romero’s biting satire of the then-emerging consumer culture and building on its predecessor’s (Night Of The Living Dead) racial commentary.

This is where the critics and fans tend to diverge, I think. For a critic, who may have a more extensive background than the average fan, the frame of reference is different. With a broader foundation of works to compare and contrast, it’s easier to pull examples of things each artist tries to do or moments where another creator said the same thing, but in a more salient way. For example, on The Off-Season, Cole directly lifts the chorus from Styles P and Pharaohe Monch’s “The Life” for “My Life,” instantly begging comparison between the two. But where Cole merely pairs it with dad joke punchlines like “Ja Morant, I’m on my Grizzly,” Styles’ version speaks about the tribulations of his existence and resisting the call of the streets and their inevitable consequences. “I have talks with the Lord and he’ll be callin’ me soon,” he growls. But the likelihood a teenage or young adult Cole fan has heard that, or even relates to it in a modern-day context, is slimmer.

The same goes for Snyder’s work. In Army Of The Dead, the attempts at social commentary are cringe-worthy. Between a ripped-from-the-headlines jumble of a refugee camp just outside zombie-occupied Las Vegas where guards abuse their authority and volunteers point infrared thermometers at residents’ foreheads to a godawful debate on whether a character of Japanese descent can say an age-old, politically incorrect children’s rhyme, Snyder’s swings at saying something relevant to the times whiff hard. Compare that to Night Of The Living Dead, where the primary breakdown between the human survivors is a barely disguised thread of racial tension between the two potential leaders. Also, spoiler alert on a 53 year old movie: The Black character is the only one to live to the end, in contrast to other horror films of the time, only to get shot by the supposed saviors, a bunch of good ol’ boys out on a tear. It’s left ambiguous whether they really think he’s undead or not. Now, that is social commentary.

But here’s where I give the kids some credit: They don’t have to see it the same way, because ultimately, art is about emotional connection. Fans may have encountered Cole or Snyder first, developing a connection with their work that they might never have with the more expansive canon of hip-hop or film. That doesn’t mean they might not also expand their palate through those references, either. It certainly feels like a short leap from Cole’s new album to Pharoahe Monch’s work, then to artists who worked with him, like Black Thought, Common, Jean Grae, or even M.O.P. A love for zombie films might lead a Snyder-ite down the rabbit hole to discover Romero, Edgar Wright, The Last Man On Earth, and the cinema of Korea and Spain, which have produced some of the most innovative work in the genre ever — Train To Busan is the only zombie flick to make me cry and Rec kept me up for two nights straight.

The only fault in critics or fans is when they fail to engage the other side in good faith. Critics don’t need to lord our knowledge over fans, condescend or goad them, because our goal should always be to provide perspective, guidance, and context. LIkewise, fans don’t have to take every critique as a personal insult; it’s okay to be protective of your favorite art because you feel like it’s part of your identity and those critiques can feel personal, but jumping down people’s throats on Twitter is unproductive and annoying, while only serving to bias casual consumers against you and your favorite. It’s okay to like what you like, but try to keep in mind that everyone is coming from a different place, and they might not connect with the work the way you do. With that said, that may be the way J. Cole and Zack Snyder are the most like each other: However their work is viewed, they are both great at inspiring that connection.

Usually, Billboard reveals the top ten spots of its weekly Hot 100 singles chart on Mondays. However, that news was delayed this week. Finally, though, on Wednesday morning, the chart dated May 22 was unveiled. On it, Bruno Mars and Anderson .Paak’s Silk Sonic single “Leave The Door Open” returns to the No. 1 spot for a second week.

“Leave The Door Open” first topped the charts on the Hot 100 dated April 17. The four-week gap between No. 1 Hot 100 placements is the longest for a song since Post Malone’s “Circles” had a four-week gap between its second and third No. 1 weeks, on the charts dated December 7, 2019 and January 11, 2020.

.Paak was pretty stoked when the song hit No. 1 for the first time, as he wrote at the time, “Ima stretch this goose neck to The moooon!! All I can say is thank you!!!! To have a song like this debut in the hot 100 ( my first song to ever make it up there ) is truly amazing. It can’t happen without hard work and yalls support. Thanks for pushing everyone to greatness @brunomars and showing us new heights! I’ll never come down!! let’s keep rising! We love you for this!!! Y’all gonna have me faded all damn week!!”

Other notable takeaways from this week’s chart are Dua Lipa and DaBaby’s “Levitating” reaching a new peak at No. 2 and J. Cole’s “Interlude” debuting at No. 8.

Billboard explained the reasoning behind the announcement delay, writing, “The announcement of this week’s Hot 100 was delayed by approximately 48 hours while Billboard and MRC Data conducted standard audits on reported data, working with data partners to recognize and resolve anomalies.”

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

As confirmed earlier this week by Chicago’s mayor, Lollapalooza 2021 is set to make a full capacity return this year. The buzzworthy music festival has just unveiled their 2021 lineup, which is led by Foo Fighters, Post Malone, and Tyler The Creator.

Taking place the weekend of July 29 to August 1 in Chicago’s Grant Park, Lollapalooza returns with a massive lineup of big-name stars. Along with Foo Fighters, Post Malone, and Tyler The Creator, Lollapalooza has booked artists like Miley Cyrus, DaBaby, Marshmello, Journey, Megan Thee Stallion, Roddy Ricch, Kaytranada, Brockhampton, Playboi Carti, Young Thug, Limp Bizkit, Modest Mouse, Jack Harlow, Polo G, Trippie Redd, Steve Aoki, Brittany Howard, Jimmy Eat World, Saint Jhn, Iann Dior, Mt. Joy, Young The Giant, Dominic Fike, All Time Low, Whitney, Freddie Gibbs, The Front Bottoms, Kim Petras, Ashe, Oliver Tree, Omar Apollo, Tate McRae, Rico Nasty, Earthgang, Jpegmafia, Princess Nokia, Orville Peck, Cautious Clay, Dayglow, Slowthai, Mick Jenkins, Flo Milli, TNGHT, Toosii, Mxmtoon, RMR, Hinds, Gus Dapperton, Blossom, and more.

Though Lollapalooza is bringing the festival back at full capacity, about 100,000 attendees per day, the city has made it clear that they will still have a few COVID-19 precautions in place. Before gaining entry, ticketholders are required to either show proof of vaccination or provide documentation of a negative COVID test in the last 24 hours.

See Lollapalooza’s full 2021 lineup above. Tickets go on sale 5/19 at noon CDT. Get them here.

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

Three weeks removed from the release of his debut mixtape Street Sermons, North Carolina crooner/rapper Morray made his television debut last night on Jimmy Kimmel Live!, blazing through a medley performance of lead single “Quicksand” and mixtape cut “Can’t Use Me.” Amid dystopian staging featuring a burning car and various debris in the background and embellishing the soulful production with a live band, Morray quickly proved to be a polished performer, even though it was pre-recorded.

Morray’s tape arrived on April 28 in the middle a tough week for releases, as that New Music Friday brought a swarm of standout projects from the likes of AG Club, The Alchemist, and DJ Khaled. However, that turned out to be a blessing in disguise for the newcomer, as his No.41 debut on the Billboard 200 looks all the more impressive in hindsight. “Quicksand,” which peaked at No.65 on Hot 100, also drew attention to Morray’s work, garnering cosigns from fellow Carolinians DaBaby and J. Cole.

The “Trenches” rapper’s star continued to rise this past weekend as he was revealed as one of the features on Cole’s new album The Off-Season, singing an interpolation of Pharoahe Monch’s chorus from Styles P’s 2002 single “The Life.”

Watch Morray sing “Quicksand” and “Can’t Use Me” from his debut album on Jimmy Kimmel Live! above.

Paul Mooney, the pioneering comedian and actor who wrote with Richard Pryor and made frequent appearances on Chappelle’s Show, has died at 79 years old after suffering a heart attack. The news was first reported by his cousin Rudy Ealy to CNN contributor Roland Martin and later confirmed by Deadline.

“I remember, as a little kid, my dad showing me Paul Mooney’s stand up for the first time and I was just blown away. My dad said, ‘Now THIS is comedy.’ and he was right,” A Black Lady Sketch Show star Ashley Nicole tweeted following news of Mooney’s death, while Desus & Mero host The Kid Mero wrote, “PAUL MOONEY IS A COMEDY GOD B.”

Born in Louisiana as Paul Gladney, Mooney moved to California as a child and lived a fascinating life. He was a ringmaster for the Charles Gody Circus; performed in an anti-Vietnam War road show alongside Jane Fonda; wrote material for Pryor, including as the head writer on The Richard Pryor Show; and appeared in The Buddy Holly Story as Sam Cooke and Spike Lee’s Bamboozled.

Mooney’s greatest influence, though, was as a writer, at first for sitcoms such as Sanford and Son and Good Times, but more significantly with and for Pryor. He co-wrote much of the material on Pryor’s comedy albums (including the breakout Live on the Sunset Strip) and even was recruited by Pryor to provide material for Pryor’s hosting gig on SNL… Mooney was head writer for the first year of Fox’s In Living Color, and is said to have inspired Damon Wayans’ signature character Homey D. Clown.

Mooney is also known for his work on Chappelle’s Show, where he played “Negrodamus.” He also delivered one of the show’s most iconic lines: “White people like Wayne Brady because he makes Brian Gumbel look like Malcolm X.”

(Via Deadline)

In a big move for fans of Batman: The Animated Series, Bruce Timm, who brought the classic Dark Knight cartoon to life, has teamed up with The Batman director Matt Reeves and J.J. Abrams for an all-new series. Titled Batman: Caped Crusader, Warner Bros. Animation wants fans to know that new series will not be a sequel to the ’90s staple, but instead, will “once again reinvent Batman and his iconic rogue’s gallery with sophisticated storytelling, nuanced characters and intense action sequences all set in a visually striking world.” Via Entertainment Weekly:

“We are beyond excited to be working together to bring this character back, to tell engrossing new stories in Gotham City,” Timm, Reeves, and Abrams said in a joint statement. “The series will be thrilling, cinematic and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters. We cannot wait to share this new world.”

Along with the press release announcing Batman: Caped Crusader, a new poster was unveiled to promote the series that will appear on both HBO Max and Cartoon Network:

On top of the Batman: Caped Crusader news, Warner Bros. Animation also announced My Adventures with Superman. According to Deadline, that animated series will focus on a “twenty-something” Superman and Lois, voiced by The Boys star Jack Quaid and Alice Lee, respectively, as “as they begin to discover who they are and everything they can accomplish together as an investigative reporting team at the Daily Planet.”

(Via Entertainment Weekly, Deadline)

In 2018, Rosalía shared some photos of herself in the studio with Oneohtrix Point Never (aka Daniel Lopatin). Naturally, this got music fans excited for whatever it was they were cooking up, but the wait for the release has been a long one. Now, though, the fruits of their collective labor have been revealed, as Rosalía features on a new version of Magic Oneohtrix Point Never album closer “Nothing’s Special.” The song stays mostly the same as the original, except Lopatin’s vocals have been replaced with Rosalía singing in Spanish.

Lopatin previously told Apple Music of the original version of the song, “There’s a kind of thesis in it. It was a really rough f*cking year and it’s been hard for everybody. Something that’s always given me a lot of solace when I’m in a funk is that I notice that I’ve become disenchanted. The thing that can kind of re-enchant me very quickly when I get there is to remember that — like the Philip K. Dick quote said — everything is kind of divine, and everything is interesting, including the stuff between the dials. The noise. I wanted to end the album on a high note, so it crescendos towards the lyric that says no matter how bleak things get, I’m still fundamentally fascinated that I can find such enchantment in such random, small things.”

Listen to “Nothing’s Special” above.