Jalen Green made waves back in April when the 5-star prospect announced he would be the first major prospect to join the NBA G League’s Select team, which will offer prospects an opportunity to make up to $500,000 by forgoing college and beginning their pro careers immediately after high school.
While that has not set off a domino effect of top players decommitting from colleges to jump at the chance to go the G League route, it has opened up an alternative pathway from college that requires players to, at the very least, seriously consider the pros and cons of both. On Wednesday, after some rumblings about this potential for some time, Adam Zagoria of Forbes and the New York Times reported Jonathan Kuminga, the top-ranked prospect in the Class of 2020 on the 247 Sports Composite Rankings after reclassifying to 2020 earlier this summer, will join Green in the G League next season and skip college.
Jonathan Kuminga — the 6-foot-8 forward from the Democratic Republic of Congo and @tps_hsbb — has decided to skip college and sign a deal in the NBA G League pro program, sources said.
That decision was confirmed quickly by Shams Charania of The Athletic, who had Kuminga on an Instagram Live.
Top prospect Jonathan Kuminga’s G League deal is expected to be in the $500,000 range, sources tell @TheAthleticNBA@Stadium. Kuminga recently graduated from The Patrick high school, and now is a potential No. 1 pick in 2021. https://t.co/Wfm6uDIjgg
Kuminga is expected to be one of the top picks in the 2021 NBA Draft, as the 6’8 small forward has spectacular athleticism and skill — for an in depth look at his game, please read Brian Schroeder’s deep dive into him as a prospect.
He is set to officially make his announcement on Thursday at 2 p.m. ET, and with Kuminga on board, the Select team will have plenty of attention on it whenever the G League is able to restart next season.
NASCAR’s Cup Series headed to Bristol Motor Speedway on Wednesday night for its All-Star Race, and before the festivities got underway they had the All-Star Open, where three drivers had the chance to race their way into the 20-car field for the main event and race for the $1 million prize — with another driver earning their way in with a fan vote.
Among those looking to race their way into the All-Star Race was Bubba Wallace, but early on he got into it with Michael McDowell in the No. 34 car. The two were bumping and shoving, as they’re wont to do at Bristol, but after Wallace got by McDowell, the 34 turned down into the 43’s right rear quarterpanel and sent Wallace spinning into the wall, ending his night.
Wallace was, let’s just say, less than thrilled by this maneuver and made sure to make those feelings known in his interview after being released from the infield care center, calling McDowell “a joke” as he watched a replay of the wreck.
Bubba wasn’t done with that little post-race promo, either, as he went back to the garage to check out his crumpled up Chevy. Wallace decided to make sure McDowell knew all about how he was feeling by taking his bumper that had fallen off in the wreck and carrying it over to the 34 hauler, where he’d leave it as a reminder to McDowell of what he did.
.@BubbaWallace took the bumper of his wrecked #43 car and dropped it a the hauler door of @Mc_Driver.
— Noah Lewis (NASCAR Writer) (@Noah_Lewis1) July 15, 2020
Wallace has been the most talked about driver in NASCAR for the last month-plus, as he’s the sport’s lone Black driver and has used his voice to amplify the Black Lives Matter movement and enact change in NASCAR. In a sport that has long been anything but progressive, that’s ruffled plenty of feathers among the fan base, but ironically, Wallace might be the closest thing to the old school drivers that group loved on the track and off of it, in terms of wearing his heart on his sleeve (remember when he rage quit an iRacing event?) and never being afraid to tell other drivers how he feels about them.
News broke Wednesday morning that Atlanta trio Migos filed a lawsuit against their attorney after the group was cheated out of “millions of dollars.” The lawsuit cites a conflict of interest between Migos and their attorney Damien Granderson, who also represents Migos’ label, Quality Control Music. According to a report from Variety, the group says the attorney “abused his position of trust as Migos’ fiduciary from the moment he was retained as Migos’ lawyer.”Quality Control’s CEO Pierre “Pee” Thomas responded to the lawsuit, which accuses him of professional malpractice and unjust enrichment, by sending out a lengthy Instagram post.
The post features a screenshot of a headline that reads, “The hip hop trip was ‘cheated out of millions of dollars’ through excessive commission and bad deals.” Pee Thomas offered his response by criticizing the group for the lawsuit and its timing, as it arrives just days after the tragic death of rapper Marlo, who was signed to the label.
It is unfortunate that the same people that we have worked hard for, provided opportunities for, and championed for are now alleging that we have participated in any kind of immoral or unfair business practices or took advantage of them and their careers, especially while we are dealing with the death of an artist on our label that was dear to us.
Elsewhere in his statement, Thomas emphasized his stance alongside the Quality Control Music label, refusing to allow the accusations to be “tarnished by allegations of unfair and unjust business practices.”
It is hard enough to be fighting and battling with corporations and the powers that be, I am not doing it with those who I consider family. I love my artists and I love my team. Everyone has their own lawyers. I understand in this business that you are not always going to end with the people you started with. I say that to say, I am not forcing anybody to be in business with us that has a problem and cannot communicate and does not want to work as a unit. Everything is negotiable. I wish my whole team more money, more blessings, and continued success.
As for the lawsuit, Migos have yet to reveal the exact dollar amount they seek to recompense their lost income.
Check out the Instagram post above to read Pee Thomas’ full response.
There’s nothing better than bingeing some good scary movies on Netflix on a dark, stormy night. From ghosts to vampires and zombies just about every morbid fantasy that your demented mind can conjure has representation. We’ve watched the best horror movies on Netflix streaming right now, and here they are, in their beastly, blood-curdling glory. It’s perfect for that late night movie binge to keep you wide awake all the way through 2020.
Writer/director Trey Edward Shults followed up his unnerving family portrait in 2015’s Krisha with a look at another family under the most desperate of circumstances. After an unknown illness has wiped out most of civilization, a number of threats — both seen and unseen — come for a family held up in their home out in the wilderness. It’s a subtle, dream-like tale that stars Joel Edgerton and Christopher Abbot as two patriarchs intent on keeping their families safe, no matter the cost.
Hannibal Lecter is one of horror’s most iconic characters, but it’s a testament to the creepiness of Anthony Hopkins in a leather muzzle that, no matter how many times the film gets quoted, hearing him tell Clarice Starling he’s having an old friend for dinner still sends chills up our spines. Jodie Foster plays the FBI agent tasked with catching another serial killer with Lecter’s same M.O. and she does it by striking up unnerving conversations with the guy, but Hopkins is the real star here, playing Lecter with a restrained insanity that makes his small talk of enjoying human liver with fava beans so much more nightmarish.
Before Ben Feldman played a lovable know-it-all on Superstore, the guy was surviving a terror-filled jaunt through the catacombs of Paris in this horror movie. Feldman plays George, a reluctant sidekick to Scarlett (Perdita Weeks), a young alchemy scholar and his former girlfriend. Scarlett convinces George a few others to venture into the famous Paris underground in order to find the fabled philosopher’s stone (Harry Potter kids should know all about this thing, we’re not explaining it here). What they find instead is basically Dante’s Inferno come to life as they face down cults, demons, ghosts, and all manner of horrific beings. Let this be a warning, children: Nothing good happens this far below street level. Nothing.
Allison Williams, who’s become something of a scream queen after her work in Get Out, continues her horror track record with this thriller about a gifted musician who befriends the talented student who replaced her. Strange happenings begin to occur, events that sabotage the young girl, but as terrifying as this story is, there’s absolutely no way you’ll be able to predict its ending.
Al Pacino playing the demonic head of a New York City law firm with Keanu Reeves serving as his greedy, equally-evil protégé? Yes, please. Look, this horror flick doesn’t have as many frights as some on this list, but it’s filled with tense moments, strange happenings, and a twist you don’t see coming. Reeves plays Kevin, a talented attorney from the South, who makes his way to the Big Apple after winning some high-profile cases. His clients were guilty, but what does that matter, right? Charlize Theron plays his barren wife, Mary Ann, a woman who at one point encounters visions of a baby eating her ovaries, and Pacino plays Milton, Kevin’s boss and Satan himself, literally. It’s a whacky ride into the occult, but the performances are worth it.
Jeremy Saulnier is someone who knows how to make a story of thrilling and brutal violence. Director of Blue Ruin and Green Room, he manages to make his stories gripping and tense with slight touches of offbeat humor. Well, for his first feature, that offbeat humor is just as extreme as the violence. An awkward guy finds an invite to a random Halloween party and decides to attend, unbeknownst to him that he’ll be the murdered main attraction for a group of eccentric artists. It’s a slow build toward its inevitably over-the-top and bloody conclusion, but it’s a fun ride for a low-budget gory comedy.
This Netflix nightmare follows a group of friends who venture into the Scandinavian wilderness in order to honor their recently-murdered brother. The guys, Luke (Rafe Spall), Phil (Arsher Ali), Hutch (Robert James-Collier), and Dom (Sam Troughton) are forced to take a different path from the one planned, a mistake that leads them to cults and sacrificial offerings and an ancient being who prefers to stake its prey. The scenery is gorgeous, the chemistry of the cast is spot on, and the premise — how these men confront their fears and failures thanks to a supernatural being — starts out promising, though it could’ve delivered a better ending.
Ethan Hawkes plays a washed-up true-crime writer in this grisly flick filled with occult deities and possessed children. Hawke’s Ellison Oswalt moves his family to a home whose last residents all hanged themselves in order to uncover the reason for the killings and who was behind them. Unfortunately for Ellison, supernatural forces seem to be at play and he finds a box of snuff films, all depicting gruesome murders across decades, all featuring families who moved into the house. The movie combines the best of the horror genre — creepy kids, weird home videos, demons, etc — and Hawke does a good job of playing a father desperate to save his family from the mess he made.
Despite a cast that includes Gemma Arterton, Paddy Considine, and Glenn Close, this unusual, post-apocalyptic film got a bit overlooked during its brief theatrical release. It’s best enjoyed without knowing too much of the plot. Suffice it to say that Melanie (Sennia Nanua), the girl of the title, isn’t quite what she seems, and there’s a reason that she, and others her age, are kept in a secure military facility. But the best trick of the film, thanks in large part to Nanua’s winning performance, is the way its innovations go beyond just putting twists on a familiar genre and, instead, making us question where our sympathies ought to lie.
When a punk rock group accidentally witnesses the aftermath of a murder, they are forced to fight for their lives by the owner of a Nazi bar (Patrick Stewart) and his team. It’s an extremely brutal and violent story, much like the first two features from director Jeremy Saulnier (Blue Ruin and Murder Party), but this one is made even tenser by its claustrophobic cat-and-cornered-mouse nature. Once the impending danger kicks in, it doesn’t let up until the very end, driven heavily by Stewart playing against type as a harsh, unforgiving, violent character.
Robert Eggers’ Sundance hit attracted some of the oddest complaints directed at any film in recent years when some disgruntled audience members suggested it wasn’t scary enough. Maybe they were watching a different movie? Set in colonial New England, the austere film follows a family outcast from their strict religious community and trying to make it on their own at the edge of some deep, dark woods. It essentially takes the witch-fearing folklore of the era at face value, watching the family disintegrate under the insidious influence of a nearby witch. It’s a slow-burn horror movie, light on shocks, heavy on unease, and thematically rich in ways that only become apparent later.
Patrick Wilson stars as the father of a little boy trapped in a coma who’s been possessed by evil spirits. Rose Byrne plays his wife, and while the story itself is a bit muddled, the premise is solid nightmare fuel. Really, is there anything more terrifying than a demon child?
This indie comedy quickly became a cult classic, turning familiar scary movie tropes on their heads in bloody and hilarious ways. Alan Tudyk and Tyler Labine star as two bumbling-yet-well-meaning hillbillies who get pulled into a nightmare scenario when a group of horny coeds think they’re trying to kill them. In a series of events that escalates in violence, Tucker and Dale try to do the right thing while managing to stay alive in the process. As one of the best horror comedies, it’s a hidden gem waiting to be discovered by those looking for off-the-beaten-path hilarity.
This Thai horror film follows a young man named Tun and his girlfriend, Jane, who accidentally run over a young woman after a party and are haunted by her spirit. Hauntings and horror go hand-in-hand, but this film digs deeper into the supernatural trope by revealing a surprising, gruesome connection between the woman’s ghost and the film’s protagonist. We won’t spoil anything here, but let’s just say there’s a reason this death follows this guy wherever he goes.
When a graduate student in Chicago who’s completing her thesis on urban legends accidentally summons the ghost of an artist murdered in the late 19th century, things become a bit hellish. The Candyman was the son of a slave who grew up in polite society, became a painter, and fell in love with a white woman before a lynch mob cut off his painting hand, replaced it with a hook, and doomed him to his current existence. It’s a terrifying commentary on race relations and what we inherit, but even if that flies over your head, you’ll still be sufficiently spooked.
Mike Flanagan, who directed Oculus and Ouija: Origin of Evil, expertly directs this simple tale of a deaf woman being menaced by a masked (and later unmasked) killer in her remote home. This is nothing you haven’t seen before, but Flanagan brings real panache and visual energy to a film that could have easily felt redundant in the hands of a lesser filmmaker.
Succession’s Brian Cox and Emile Hirsch star in this horror mystery about a father-son coroner team attempting to identify a Jane Doe who was harboring all kinds of dark secrets. When a corpse is brought into a small-town coroner’s lab, he and his son begin to experience supernatural phenomena. Tommy (Cox) and Austin (Hirsch) try to escape the lab but quickly realize that they’re dealing with something far more dangerous than a dead body while demonic spirits, old curses, and witches come to life.
Tom Holland’s ’80s horror flick managed to take a benign children’s toy and transform it into a waking nightmare. The film stars Catherine Hicks as Karen Barclay, a single mother who gifts her son Andy a doll he’s been wanting. Unfortunately for Andy, that doll is possessed by the soul of a serial killer and very quickly, Chucky then begins to wreak havoc on the family.
Stephen King’s 1992 novel transpires mostly in one isolated lake house’s bedroom where its protagonist, Jessie, lies bound to a bed after her husband dies in the midst of a sex game. That makes it a tough story to film, which may explain why it took 25 years to get turned into a movie. But the wait was worth it: director Mike Flanagan delivers a resourceful, disturbing adaptation anchored by a great Carla Gugino performance (with some fine supporting work from Bruce Greenwood). Forced to find a way out of her situation, while confronting her own past, Gugino’s Jessie is made to go to extremes, which leads to, among other things, one of the squirmiest scenes in recent memory.
This Iranian horror flick manages to tie in relevant world events with a darker story of demonic possession. The film follows Shideh, a former medical student and mother trapped in her home during the bombings of Tehran with her daughter, Dorsa. The pair are soon haunted by a djinn, a malevolent spirit who can possess a human by taking what’s most important to them. For Dorsa, it’s her doll, for Shideh, it’s a medical textbook her dead mother gave her. The two fight to survive the bombs and this evil spirit, and you’ll be fighting to get to sleep after the nightmares from this one begin
After losing her father, young Veronica (Sandra Escacena) and two classmates attempt to contact the other side with a Ouija board during a solar eclipse. Something more sinister breaks through, though, as Veronica is haunted by a dark presence everywhere she goes. Veronica excels phenomenally in the cliche horror bits every viewer has seen a thousand times over, such as mishandled Ouija use, frightening entities that only the protagonist is privy to, and twisted dreams. Based on a true story, the film relies on the strong performance of newcomer Escacena, highlighted by her haunting expressions of terror and anguish.
Aubrey Plaza and Dane DeHaan star in this horror comedy about a guy named Zach, who’s mourning the loss of his girlfriend, only to discover she’s come back to life. Plaza stars as Beth, the dead girl revived, who begins exhibiting strange behavior, eventually going into full-blown zombie mode while her devoted boyfriend Zach (DeHaan) tries to manage her mood swings and her pesky craving for human flesh. John C. Reilly and Molly Shannon play Beth’s parents, who hilariously try to cover-up their daughter’s current undead state, and though things go off the rails in the final act, watching Plaza play a moody, angst-ridden walking corpse is one hell of a good time, even if it does give you nightmares.
This ’80s Sam Raimi creation launched the director’s career and has since become a cult classic. The story follows a group of college students vacationing in an isolated cabin in a remote wooded area when they find an audio tape that somehow releases a legion of demons and spirits. Most of the group suffer varying degrees of possession which leads to gory mayhem (hence the film’s NC-17 rating).
One of the better found-footage movies to come down the pike in Paranormal Activity‘s wake is this creepy gem about a videographer (director Patrick Brice) who answers a strange Craigslist ad from a man (Mark Duplass) who requests to be followed around with a camera for 24 hours. There are a few points late in the narrative where suspension of disbelief becomes an issue (a not-atypical problem for the genre), but if you can look past that, you’ll be treated to a very scary turn by Duplass and a supremely-unnerving epilogue.
(Spoilers for Creep🙂 What could have very well been a stand-alone character exploration in 2014’s Creep is heightened in Creep 2, which sees Mark Duplass’ chameleon-like killer seeking a different kind of self-portrait. Burned out on his string of murders, Aaron reaches out to a woman who’s looking for her own kind of story by meeting and filming the lonely people she meets online. Instead of a wolf-in-sheep’s-clothing path the killer normally follows, he tells the woman what he is off-the-bat and what he wants: An ending to his journey. With all his cards (seemingly) on the table — and her hiding some of her own — it’s an even more fascinating tale than the original.
Zombie movies have been done to death, brought back to life, and repeated a few more times. But that doesn’t mean there still aren’t entertaining stories to be found in the genre. Train To Busan doesn’t bring anything exceptionally original to the walking undead, but it’s no less of a thrilling ride. An overworked dad is riding the rails with his neglected daughter when a Z-word outbreak strikes, causing savagery from corpse and living alike. Its fast-moving, contorted foes are genuinely freaky in the movie’s cramped setting, making the story feel like a zombified Snowpiercer. It’s a fun action flick with a slightly heavy-handed but solid emotional core that’s unsurprisingly getting an English remake.
After back-to-back big studio bombs, Karyn Kusama returned to her scrappy indie roots with this contained, brilliantly suspenseful study of the darkness that can arise when people don’t allow themselves to feel. The Invitation isn’t a perfect film, but Kusama does a lot with the scant resources she had to play with here, and you have to appreciate her willingness to tackle grief so directly in a genre that tends to have little time for genuine human emotion.
A varied group of people is stuck in a bar after a man is gunned down outside. As the paranoia spreads and they turn on one another, they discover a mysterious sickness could be the culprit. It’s a bottle-type plot that has been done before — locking a bunch of frenzied folks in a cage and let instincts take their course — but this Spanish horror comedy injects its own dark humor and keeps the answers to a minimum, making an entertaining story that unfortunately favors the “dark” over the “comedy” in its final act.
Steven Spielberg and Tobe Hooper collaborate on this nightmare-inducing horror flick about a suburban family whose young daughter is kidnapped by malevolent spirits. Steven and Diane Freeling live a relatively normal life, taking care of their three children, the youngest of which begins conversing with a static television and issuing ominous warnings about ghosts. Steven and Diane hire a medium to figure out why their house is haunted and discover spirits are using the children’s bedroom closet to kidnap them and bring them to another dimension, forcing both parents to confront their own fears to save their family. It’s the ghost story that all other ghost stories are modeled after, and there’s nothing more terrifying than little blonde-headed girls that are possessed.
A man (Legion‘s Dan Stevens) travels to an island to infiltrate a brutal cult in the hopes of saving his kidnapped sister. As the group’s leaders close in on discovering his identity, the dark secrets of the island start to present themselves. Written and directed by The Raid: Redemption director Gareth Evans, Apostle is a tense, beautifully shot thriller that doesn’t even seem like a horror film from the get-go. Stevens provides another icy, powerful performance alongside Michael Sheen’s turn as the leader of the harsh cult. It’s certainly a highlight among the Netflix original films.
Warning: The following post contains spoilers for the 1986 comic series Watchmen and its 2009 movie adaptation, but not so much about the HBO miniseries sequel from last year.
Alan Moore’s seminal comic Watchmen stormed back into the culture last year, thanks to Damon Lindelhof’s acclaimed HBO miniseries, which imagined what its alternate universe would look like 35 years after the source’s shocking events. Lindelhof even managed to do it without bringing back most of the original characters, largely relying on new ones to further the narrative. But according to The Hollywood Reporter, one MIA anti-hero will be returning, at least in comics form.
That would be Rorschach, the vigilante of the group — a deeply damaged loner with an unwavering, albeit deeply questionable, moral code, as well as a cool mask. He’s one of the most troubling and fascinating characters in comics, and he’ll be the subject of a 12-issue comic book series, courtesy of creators Tom King and Jorge Fornés, which will be released starting this fall.
“Like the HBO Watchmen show and very much like the original ‘86 Watchmen, this is a very political work.” King said. “It’s an angry work. We’re so angry all the time now. We have to do something with that anger. It’s called Rorschach not because of the character Rorschach, but because what you see in these characters tells you more about yourself than about them.”
In the 2009 film version, made by Zack Snyder, Rorschach was portrayed semi-sympathetically, even getting a teary farewell. In Lindelhof’s miniseries, he’s nowhere to be found, except in the hearts of a band of white supremacists called the Seventh Kavalry, who were inspired by his journal writings and, as such, rage violent war against minorities. No doubt the forthcoming comic spin-off will delve deeper into his fascinating and disturbing psyche. The series will begin publishing on Oct. 13.
If you’ve ever browsed the aisles of your local liquor store (or favorite delivery service), there’s a pretty good chance you’ve seen the words “bottled in bond” printed on various bottles of whiskey, or not. It might be a phrase that gets lost amongst the various lines of information already on the whiskey’s label. Well, it means the whiskey was matured and bottled based on the U.S. government’s Bottled-in-Bond Act of 1897 which guarantees the whiskey inside is authentic and unchanged.
It’s also a whiskey from only one distilling season and from a single distillery. It must be aged at least four years, bottled at a potent 100 proof, and must have been matured in a federally bonded warehouse. These regulations are all well and good, but honestly, we don’t care about the legalese. The most important thing is that bottled in bond whiskeys are high proof and high quality.
“’Bottled in bond’ is bourbon’s equivalent to a single malt scotch,” says Melissa Reigle, beverage manager and head bartender at Byblos in Miami. And, since this is a fairly common whiskey style, we figured it would behoove us to ask the professionals for help. That’s why we asked some of our favorite bartenders to tell us the best bottle in bond whiskeys to drink this summer.
I’m going to share a little industry secret here. Evan Williams bottled-in-bond bourbon by Heaven Hill is good, and it typically will run you about $15 a bottle. This isn’t the liquid that you’re going to impress your friends or coworkers with when you pull it out of your cabinet, but there’s not much to argue about a good product at that price point.
Henry McKenna 10 Year Bottled In Bond
Stephen George, beverage director at 20|Twenty in Carlsbad, California
Henry McKenna 10 Year Single Barrel B.I.B. is quite the treat from Heaven Hill Distillery. There’s a great depth of flavor that you can only get from a thoughtful aging process. This award-winning bourbon is still reasonably priced, and you can actually get your hands on a bottle.
Ragtime Rye Bottled in Bond
Sondre Kasin, principal bartender at Cote in New York City
New York Distilling Company Ragtime Rye Bottled in Bond is my favorite bonded whiskey at the moment. New York Distilling Company makes delicious whiskeys that are often clean and well balanced in style. For summer, you want to sit back and enjoy a high-quality whiskey that is easy to drink and has a good price point.
Old Forester 1897 Bottled in Bond Whiskey is a sweet, bold, 100 proof whiskey that was America’s first bottled bourbon. Named after the U.S. “Bottled in Bond” Act to protect product quality, Old Forester has been producing award-winning bourbon since it was introduced in 1870. It was recently awarded the Silver Medal at the 2020 San Francisco World Spirit Competition.
Old Fitzgerald 15 Year Bottled In Bond
Zach Stout, beverage manager at Clark & Bourbon in St. Louis
Old Fitzgerald is another wheated bourbon. Wheated bourbons offer something different than rye-based bourbons. There is a sweeter note with wheat. When it is backed by 50 percent alcohol, the balance you get packs a full-flavored punch. It’s one of my personal favorites and it won’t be around for long. Old Fitzgerald is releasing one batch of this Bottled in Bond series a year and they sell very quickly.
Heaven Hill Bottled In Bond
Jonathan Cunningham, bar manager at Husk in Greenville, South Carolina
This late 2019 release has notes of leather and tobacco. And at around $35 a bottle is a total steal.
1792 Bottled in Bond Kentucky Straight Bourbon Whiskey sets the standard for bottled in bond bourbons. A very elegant whiskey that reaches all quality standards with a caramel and coffee finish. This whiskey will impress even the toughest whiskey snobs.
Old Grand-Dad Bonded 100 proof is a classic that you might need to revisit. The proof will help remind you there’s definitely bourbon in that glass.
Eagle Rare Bottled in Bond
Melissa Reigle, beverage manager and head bartender at Byblos in Miami
Eagle Rare Bottled in Bond is a phenomenal value. Comparable to the award-winning Henry McKenna (without the age statement), this is a $20 substitute from the same distillery and much easier to find. If that isn’t enough, Eagle Rare has programs that actively support American military veterans. So, enjoy this bourbon on the Fourth of July, on a lake, by the pool, and on the sand all summer long, and on a budget and feel good about it.
Writer’s Pick:
George Dickel Bottled in Bond
This 11-year-old bottle in bond whiskey from Tennessee’s George Dickel is full of honey sweetness along with crisp green apple, pecan pie, and rich caramel. Also, it’s 100 proof and you’d never know it because it’s surprisingly mellow and easy to sip.
The NBA bubble is in full swing in Orlando as the league prepares to restart the season at the end of the month, and so far, adjusting to this new reality has been something of a mixed bag. There’s been players fishing and golfing and seemingly trying to enjoy themselves at Disney, but we’ve also already had a couple of players breaking quarantine accidentally, complaints about the quality of food, and some untimely injuries.
Rajon Rondo has been the biggest name to suffer an injury thus far, as the Lakers guard fractured his hand at practice and will miss 6-8 weeks. It’s a tough blow to a team that has its sights set on a championship this season and is already partially depleted in the backcourt after Avery Bradley opted out of the restart to protect his son’s health.
On Wednesday, Kings guard De’Aaron Fox was added to the injury list after spraining his ankle during a Kings practice this week. Fox will be re-evaluated in 7-10 days, according to the team release. It is the same ankle Fox sprained last fall, although it’s unclear how severe the sprain is.
It was teammate Richaun Holmes who violated quarantine in recent days for food delivery and has been forced into isolation. Prior to the bubble, COVID-19 hit the Kings particularly hard, as Buddy Hield, Jabari Parker, and Alex Len all tested positive earlier this month. Harrison Barnes then became the fourth Sacramento player to test positive this week, although they all plan on joining their team once they have been cleared.
For a team that hopes to fight its way into playoff contention, it’s an inauspicious beginning to the restart and they will have a limited window to get their full squad on the floor before games that count begin.
Since his debut Listen… The Album in 2006, there have only been three individual years when DJ Khaled hasn’t released an album: 2009, 2014, and 2018. He has no plans of adding 2020 to that list. The We The Best mogul took to his social media pages today to announce his 12th album, the successor to Father Of Asahd.
Sharing a minute-and-a-half trailer to his Instagram page, Khaled revealed the new album’s title — that is, Khaled Khaled, his first self-titled release — all while taking fans on a trip through time. In the trailer, Khaled begins by revisiting his days as a DJ and a radio show host before moving back to the present. There he celebrates some of the biggest moments in his life, including the birth of his second child, which took place at the top of the year.
The album announcement also comes after Khaled revealed he and Drake would release not one but two singles this Friday, to kick off the album’s campaign. Khaled also revealed the title of the upcoming singles, namely “Greece” and “Popstar.” “Greece” was one of the tracks Drake played, alongside OVO Mark, in a surprise Instagram livestream. The track caught the attention of viewers because it featured Drake speaking French.
You can watch the album announcement in the video above.
Christopher Nolan’s latest mindbender, Tenet, has spent the last four months effectively playing chicken with the pandemic that’s kept much of the nation in quarantine. Originally scheduled for mid-July — i.e., two days from this writing — it bumped itself to month’s end, then to mid-August. There, technically, it still stands, but with spikes popping up all over the country, and even places like New York City in no rush to reopen its movie theaters, some have wondered if Tenet will be bumped again.
Meanwhile, other parts of the globe, ones that dealt with the virus far better than the U.S. has, have either been opening up their movie theaters or planning to. This has led some to speculate whether Warner Bros. could always recoup the film’s immense budget by releasing it overseas while American theaters by and large remain shuttered. But as per a new report in Vulture about Tenet’s chances of hitting U.S. theaters this summer, Nolan (and Warner) have reportedly shot that possibility down.
As per Vulture, an international release was, at one point, considered. However, that was deemed a “risky strategy” given that we live “in an era of rampant overseas movie piracy.” That’s one reason why many major releases now — or, then, in the before-time when movie theaters were a thing — are released worldwide on the same day.
Nolan has also long been a champion of theatrical moviegoing. In late March, still relatively early into the American wing of the pandemic, he wrote a Washington Post op-ed calling the theatrical experience a “vital part of social life.” According to Vulture, Nolan also “wanted to help support American theaters in their time of need by sticking to the original plan.”
So there you have it. No one knows when anyone will see Tenet, but one thing’s for near-certain: It won’t be via a pirated copy from another part of the globe. Of course, there is always drive-ins…
Once in a blue moon, a celebrity will have their Twitter account hacked and, as a result, a string of weird posts will be sent out, making it quite obvious the account has been hacked. Today, however, was a much different case, as a number of celebrity accounts were hacked as part of what seemed to be a bitcoin scam.
Accounts owned by Kanye West, Wiz Khalifa, former President Barack Obama, former Vice President/presidential nominee Joe Biden, billionaires Bill Gates, Jeff Bezos, and Elon Musk, and more were among those hacked. Company accounts for Apple, Uber, and Cash App were also among the victims.
These accounts broadcasted a message, that read, “I am giving back to my community due to Covid-19!” It then asked users to send money to their Bitcoin account for it to be sent back, with a bonus. “All bitcoin sent to my address below will be sent back doubled. If you send $1,000, I will send back $2,000!”
We are aware of a security incident impacting accounts on Twitter. We are investigating and taking steps to fix it. We will update everyone shortly.
Twitter sent out a tweet letting their followers know they are aware of the scam and are “investigating and taking steps to fix it.” According to Business Insider, Bitcoin transactions revealed that the listed account in the tweets from the hacked accounts received more than 11 Bitcoin, which equates to about $101,300. It should be noted that is unknown if some or any of the transactions were executed by the scammers in order to add legitimacy to their account.
View the affected accounts and their tweets below.
Wiz Khalifa is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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