Janelle Monáe is best known as a Grammy-nominated musician, but she’s built up an impressive filmography, too, including roles in Best Picture winner Moonlight, Hidden Figures, and Harriet. Occasionally, the world collide. It was while recording Dirty Computer (one of the best albums of 2018) in Atlanta that she invited Chadwick Boseman, Lupita Nyong’o, and Michael B. Jordan, who were in town filming Black Panther, into her recording studio, and when she met director Ryan Coogler. When asked by Empire whether she’s discussed joining the Marvel Cinematic Universe with the filmmaker, Monáe not only said “yes, obviously, of course” (or something along those lines) but even offered which character she’d want to play.
“I definitely have thrown it out there,” she said. “One of my dreams has always been to play Storm. I don’t know if she comes in Black Panther, but it would be a dream to have her in it. I don’t know where they are with that. A lot of women have played Storm and they’ve done an exceptional job, and I would love to be in that line of artists and get to do Storm justice.” X-Men fan favorite Storm has been played by Halle Berry and Alexandra Shipp in the 20th Century Fox movies, although now that Disney owns the studio, she, and the rest of her mutant superheroes, are welcome to appear in the MCU.
Monáe’s next movie, Antebellum, is scheduled to come out on August 21, while Coogler is at work at Black Panther 2 (and Space Jam 2), due out May 6, 2022.
A few days ago, an unreleased Pop Smoke song, “Paranoia,” leaked. The track features Young Thug, Pusha T, and Gunna, and on it, Pusha had some words about Drake. After learning about the situation, Thug disavowed Pusha’s lyrics, saying he doesn’t “respect” them. This morning, Pusha has hopped on his Instagram Story to offer a response.
Sharing four slides of text, Pusha addressed Thug directly, saying that he believes Drake had some power in silencing Pusha’s verse. He also claimed that Thug only appears on the track because Pusha requested him, and noted that he doesn’t need Thug’s respect. He wrote:
“Aye @youngthug couple things: 1. Don’t feel bad, NOBODY knew what the verse was abt. The label heads that stopped it didn’t even know. They ONLY ASSUME because HE TOLD them! The same way HE TOLD abt the Ross ‘Maybach 6’ verse. And If HE’LL TELL record executives abt rap verses, God only knows what else HE’LL TELL! I don’t deal in Police Work, Police Rappers or Police N****s!!!
2. @youngthug you were the last verse added to the song and that’s ONLY because I requested YOU!!
3. And most important @youngthug, just so we are clear…I WOULD NEVER look or need YOUR respect for what is it I bring to this rap game!!”
He concluded by addressing Steven Victor — the head of Smoke’s label, Victor Victor Worldwide — and demanding to be taken off the deluxe edition of Shoot For The Stars, Aim For The Moon, so this drama doesn’t detract from the album. He wrote, “@stevenvictor I demand you take me off the deluxe @realpopsmoke album to avoid any confusion that make take away from This amazing body of work!”
Aside from the obvious points Pusha made, his posts also indicate that a deluxe edition of Shoot For The Stars, Aim For The Moon is actually on the way. A new version of the album hasn’t officially been announced and is therefore currently only rumored. This certainly adds validity to those rumors, though.
Yesterday, for 50 Cent‘s birthday, T.I. spent most of the day baiting the Queens rapper, challenging him to a Verzuz battle. “For your birthday, I offer you a challenge, sir,” he said in a video posted to his Instagram. “Pull your ass up with 20 of your records, sit across from me, and get this work, man.” Of course, being T.I., he couldn’t resist spicing things up with a little trash talk, reminding 50 that the last rapper to directly challenge him outsold him by a lot back in 2007. “I understand if you don’t want to answer to that challenge. Because last time you got challenged Kanye West dusted your ass off, so, you might not wanna do that.”
Of course, 50 has his own penchant for using his Instagram to reply back to any critics. In typical 50 fashion, he posted a screenshot of HipHopDX’s headline with the caption: “Somebody passed T.I. the weed they gave Smokey in Friday.” This sparked T.I. to follow-up his challenge with a five-minute video offering his explanation and wondering whether 50 was scared to step up.
50 may just be uninterested in participating in the livestream hits battle series in general, though. He previously responded to a challenge from his old rival Ja Rule in much the same way, trolling Ja rather than outright declining. It seems unlikely that anyone could arrange a battle that genuinely excites 50, as his days of chasing hits seem long behind him after the success of his Showtime drama Power.
Watch T.I.’s challenge videos above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Last Friday, in honor of the 4th of July and the signing of the Declaration of Independence, Disney plus premiered its film version of the insanely popular Broadway musical, Hamilton. The show — written, produced, and starring Lin-Manuel Miranda — reimagines the story of the oft-overlooked founding father of the US through colorful and complex hip-hop with a diverse cast of non-white actors standing in to tell the story of our history through modern eyes.
Like many folks, the Hamilton film — shot at a live performance with the original cast at the Richard Rodgers Theatre in New York — was scheduled viewing at my house. All told, I had watched the full show twice by the end of the long weekend. However, unlike many viewers, I’d come to Hamilton in a strange, roundabout way that made some of the show’s surprises less surprising, but no less impactful.
I first discovered Hamilton through its Original Cast Recording (that’s Broadway for “soundtrack”) and was instantly enamored — actually, obsessed — with how it utilized and highlighted the endless potential of hip-hop’s faculty for storytelling. I memorized the title character’s impressive, labyrinthine verses the same way I had over two decades of rhymes from Common, Jay-Z, and Talib Kweli.
Even knowing what the live show technically looked like via a serendipitously discovered bootleg stream (shout-out to whoever risked those $1000 tickets by whipping out a cell phone and having the nerve to upload it to YouTube), the Hamilton film blew me completely away. I’ll let others describe the sights — what struck me was that even with the choreography, lighting, and masterful performance of its collective cast, the part that stood out most was still that revolutionary use of hip-hop’s capacity to tell an innumerable breadth of stories and how it just begged for that power to be put to even more innovative use in the future.
There’s not much overlap between the sort of crowd that frequents the Great White Way and those who might be found in the underground clubs that spawn some of hip-hop’s greatest acts. In fact, Broadway’s nickname has often been mocked as a commentary on its casting practices and its inaccessibility to the average person to even see a show. The Hamilton film is one hell of a remedy to both, broadening the horizons of musical theater farther than they had ever been before — but not hip-hop. While hip-hop wasn’t made for this, it already had the first and most important needed quality to adapt to its new environment — it can be used to tell practically any story.
In fact, hip-hop has always been at its best when it told the stories of its characters, whether that was in the form of colorful flights of fancy or authentic autobiographical accounts of real-life events. The style is naturally suited to all kinds of formats — including musical theater like Hamilton. Within the show, Miranda uses a variety of cadences and lyrical devices to distinguish characters’ intelligence, dispositions, and backgrounds, highlighting the title character’s relentless drive and intellect with intricate, clever bars that describe the events of the American Revolution, the framing of the Constitution, and Hamilton’s eventual downfall.
Among hip-hop fans, there’s a misconception — or maybe a joke — going around online that Hamilton would be a three-hour episode of Schoolhouse Rock, aimed at kids and demeaning the intelligence and craftsmanship that hallmark some of the greatest storytelling raps. And while it’s true that the show did constitute many theater fans’ first real experience with the depth and breadth hip-hop is capable of, the show is also more than capable of surprising both hip-hop and theater fans, bringing that Venn Diagram closer together than ever.
Meanwhile, rap fans who snarkily demean the use of rap to tell the historical story of the founding fathers would do well to remember that Lupe Fiasco once imagined a project building as an anime mecha on “Daydreamin’,” that RZA and his motley crew tapped into a variety of dark fantasies on the oft-derided but later reclaimed horrorcore Gravediggaz experiment, that rappers like Ghostface Killah, Kool Keith, and MF Doom have utilized a cadre of alter egos to tell stories that don’t fit within the milieu of hip-hop’s “from the streets” archetype. Entire albums have been devoted to high-concept narrative, from Masta Ace’s A Long, Hot Summer to The Roots’ … And Then You Shoot Your Cousin to Open Mike Eagle’s Brick Body Kids Still Daydream. Digable Planets’ Ishmael Butler even linked up with Tendai “Baba” Maraire to form Shabazz Palaces and release multiple Afrofuturistic space operas in the guise of an alien visitor to our world commenting on the ills of society.
And lest we all forget, Hamilton wasn’t even the first time hip-hop was applied to musical theater. In 2001, MTV fused rap with opera to create Carmen: A Hip-Hopera, which remade Carmen Jones, the 1954 Dorothy Dandridge musical update of the original opera. While it was considered something of an oddity in its day, it’s notable for launching Beyonce’s acting career and for starring many respected and popular acts of the turn of the millennium, including Bow Wow, Da Brat, Mos Def, Rah Digga, and Wyclef Jean. Although critically derided, the film is now millennial lore and inspired a wave of celebration on the announcement of its addition to Netflix’s streaming library in 2019. Unlike Carmen, though, Hamilton shows the potential of fusing hip-hop and musical theater when guided by sufficient respect for both.
This is largely due to Lin-Manuel Miranda’s grounding as both an MC and a theater acolyte. Before opening Hamilton in 2015, Miranda was a member of the rap improv troupe Freestyle Love Supreme alongside other notable actor-rappers like Daveed Diggs and Utkarsh Ambudkar. Manuel isn’t only a theater kid; on “Wrote My Way Out” from the 2016 Hamilton companion compilation The Hamilton Mixtape, he reminisces on being bullied by kids at school for being a bookworm. In a 2016 interview with the WTF podcast, he revealed that the bully was another well-respected storytelling rapper, Immortal Technique. Coming from the neighborhood and the culture of hip-hop gave Miranda the wherewithal to include sly references to hip-hop history and lyrical shout-outs to Mobb Deep, The Notorious B.I.G., and Busta Rhymes. Listening to the cast recording is like a hip-hop fan Easter egg hunt; that thrill of recognition when you catch the references affirms that this may be a Broadway show, but it’s just as much for lifelong adherents of hip-hop as it is for theater kids.
And that’s the best part about Hamilton. It’s both hip-hop and musical theater. It doesn’t have to give more of itself to either side of the equation because both style and format are much more elastic than they’ve ever been credited with being. Hip-hop can stretch itself to fit conceptual albums, improv shows, head-to-head competition and more — why shouldn’t it also apply to singing, dancing, and playing to the cheap seats? Likewise, why should theater be closed to kids who grew up listening more to the rhymes of Cardi B, J. Cole, and Kendrick Lamar than to the cast recordings of Grease, The Phantom Of The Opera, and Rent?
It helps that Hamilton received co-signs from the likes of Busta Rhymes, Common, The Roots, and even Wiz Khalifa on The Hamilton Mixtape. It also helps that many of the show’s most elaborate rhymes are delivered by Diggs, a gifted rapper in his own right who even tried to adapt hip-hop to another format: The ill-fated ABC sitcom The Mayor. While The Mayor wasn’t quite the success Hamilton has been, its critical reception confirmed the concept could travel. Hip-hop has never just been about selling drugs, flexing on haters, and threatening enemies, as many like to portray it. But few acknowledge that it can be a space journey, a horror tale, a love letter, or even just a big joke. The world, it turns out, is indeed wide enough to encompass hip-hop in all of these forms and more. We can wait for it — or like the stage version of Hamilton, we can make it happen and leave behind an even greater legacy for storytelling in hip-hop.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
One of the best things about a new Tom Hanks movie on the horizon — besides the actual movie, and Apple TV+’s The Greyhound is a non-stop ride — is all the dad-like advice coming from the star himself. Sadly, the dominant subject right now is also unavoidable, but Hanks is still bringing his wisdom. And he definitely knows his stuff here, given that he and Rita Wilson were the first U.S. celebrities to reveal their COVID-19 diagnoses. He’s already declared his intent to come for people who won’t wear masks, and his mission is not complete yet.
While appearing Tuesday morning on TODAY, Hanks struggled to wrap his head around how “there’s a darkness on the edge of town here,” but people are still refusing to step up and take the not-so-difficult steps of wearing masks, social distancing, and so on. In an exceedingly self-aware way, he contrasted the way that people are refusing to cooperate today with how they behaved during WWII:
“What has lingered here is this societal question really of doing our part. Not everything I say has to be tied to somehow the war effort back during World War II, but there was a sensibility that permeated all of society, which was do your part, we’re all in this together.”
He continued, stressing how perplexed he feels about people declining to strive toward the betterment of society, and he laments that this “should be engrained in the behavior of us all,” but very clearly, that’s no longer the case in the United States. Well, Hanks also popped over on his Zoom machine to speak with AP Entertainment and further spread his message about people who go maskless: “I got no respect for you, man. I don’t buy your argument.”
Watch the interview clips below, and also watch Apple TV+’s The Greyhound on July 10.
“The idea of doing one’s part should be so simple: wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole.” –@tomhankspic.twitter.com/N7JDFrk2KH
Although Netflix’s stash of prestige movies grows with every awards season, the still-dominant streaming service hasn’t concentrated as heavily upon comparable TV series. Given that those entries into the library are rarer, it’s worth discussing when one pops into view, and Netflix squarely aims for prestige territory with its acquisition of Stateless, a series co-created by Cate Blanchett, who also portrays a flashy cult leader. Intriguing, for sure. Does the show deliver, though? Yes, but in an unexpected way, while filling itself to the brim with both horror and hope.
Stateless is an expansive, although harrowingly dramatic, show which manages to be gripping — it’s a bit like if Orange Is The New Black wasn’t a dramedy and contained a more sympathetic protagonist — even though it’s not exactly the kind of subject that one can imagine tucking into voluntarily. There’s a lot going on here, far beyond Blanchett’s name, although her character plays a pivotal role in the mental breakdown of a white woman, who later finds herself behind a razor-wife fence at an Australian immigration detention center. What unfolds at the fictional Barton center gets twisty and non-linear, and what emerges is a portrait of various players woven into a vivid tapestry, which shall duly entrap any viewer that finishes the first episode.
Through a story that’s set down under but unavoidably mirrors much of what we’re seeing in the U.S. today, Stateless exposes many faces of twisted bureaucracy. If you guessed that this show was inspired by a real-life story, you’d be correct, with that inspiration coming from Cornelia Rau, a permanent Australia resident who somehow (about 15 years ago) ended up in a detention center like the one we see onscreen. Her identity’s switched up, so that Yvonne Strahovski (The Handmaid’s Tale) plays Sofie, who we first meet in her polished flight attendant capacity. The first episode’s quite a whirlwind, following Sofie’s flight from her frustrating job and family to her embroilment in the cult (co-headed by a slippery Dominic West, along with Blanchett’s manipulative showwoman) and her subsequent deterioration, followed by her illegal imprisonment.
It’s a nightmarish scenario in a show that digs not only into mental illness but the plight of the disenfranchised and, most importantly, anti-immigrant sentiment around the globe. That hasn’t gone away, not even for a moment, despite all of the other headlining atrocities taking place on a near-daily basis. The show invests a significant chunk on Sofie’s plight, but she’s meant to help us see into the hellish facilities inhabited to those who often remain unseen. And her fractured psyche’s a window, through which we can glimpse more layers, including a conflicted, rookie facility guard (Jai Courtney), who begins the show with a seemingly unshakable moral compass but slowly descends into his own survival mode while losing his grip on right and wrong.
A particularly tragic arc follows an Afghan refugee, Ameer (Fayssal Bazzi), and his family, who are entrapped within heart-wrenching circumstances. He’ll do anything to keep his daughters from falling into the clutches of the Taliban, and his fear is something that we can barely fathom from the other side of the screen.
Ben King/Netflix
This dizzying array of stories finds no soothing anchor, and although Blanchett doesn’t claim a huge amount of screentime, what we do see from her is sufficiently unsettling. She and West portray the only characters of note who aren’t desperately hanging onto their own pants, but they’re instrumental in the dismantling of Sofie’s identity and propelling her into the unfathomable next situation where she finds herself.
Ben King/Netflix
Stateless is one of those series where a viewer benefits by not knowing more than the bare necessities beforehand. It’s a ride that should be taken while realizing that unpleasant things will go down, but the journey’s still worth taking. Both Strahovski and Bazzi deliver stellar performances to sell their character’s plights to the audience without diving into maudlin territory, which would have been dreadfully easy for the writers to insert in the neverending quest for drama. Yet these characters are strong despite their tragic nature. They’ve both seen some sh*t, and they’re both outsiders in their own ways, even if Sofie’s suffering wasn’t always apparent to those who once knew her. Courtney, too, turns in a fine presence in a nuanced role that he must have relished.
This is a show full of natural-feeling momentum. Vital stories — the kind that could very well be considered seat-arm grippers if this was a feature-length picture, and if we could actually watch movies in theaters right now — shall be told as the episodes steadily tick off. When our current situation ends (and at some point, it will), the difficult situations portrayed in Stateless shall continue, and like no show that I’ve seen recently, the first episode’s intent upon convincing those on the fence to click on the next episode. You may not think Stateless is something you’d want to watch in these stressful times, but it’s compelling enough that it might prove you wrong.
Pop Smoke’s posthumous album, Shoot For The Stars, Aim For The Moon, dropped last week. In a less official capacity, so too did a Smoke collaboration with Young Thug, Pusha T, and Gunna. The song, “Paranoia,” leaked, and on it, Pusha appears to reignite his feud with Drake. Genius notes that on the track, Pusha seems to reference Drake’s use of a patois accent and locations near Drake’s home of Toronto, among other things.
When Thug realized what was going on with the leak, he expressed his disapproval of Pusha’s lyrics. In a message posted on his Instagram Story last night, Thug said he doesn’t “respect” the verse because he isn’t involved in the beef. He wrote, “I don’t respect the pusha t verse on the song with me and gunna cause I don’t have nun to do with y’all beef nor does Gunna, and if I knew that was about him I would’ve made changes on our behalf.. this rapper sh*t so gay.”
@thuggerthugger1/Instagram
There could be more posthumous Smoke music coming soon, and not just in the form of leaks. Recently, one of the late rapper’s friends suggested that a deluxe edition of the album could drop soon, on one condition.
Shoot For The Stars, Aim For The Moon is out now via Victor Victor Worldwide and Republic Records. Get it here.
Mission: Impossible is, first and foremost, an excuse for Tom Cruise to get paid to snowboard down Shanghai Tower, or whatever, but the longer the action franchise has gone on, the more it’s become an ensemble. Ving Rhames is to M:I as John Ratzenberger is to Pixar, of course, but Simon Pegg has been around since Mission: Impossible III, while Michelle Monaghan, Rebecca Ferguson, and Alec Baldwin have appeared in multiple films, and Vanessa Kirby is returning for M:I VII after making her debut in Fallout. One of the few one-and-done, never-again-mentioned non-villains is professional thief/love interest Nyah Nordoff-Hall, played by Thandie Newton in Mission: Impossible 2, generally considered the worst Mission: Impossible movie. That’s not Newton’s fault, though; the Westworld actress is very good in the extremely John Woo-directed film, which, as she revealed to Vulture, sounded like a difficult experience.
“I was so scared of Tom. He was a very dominant individual. He tries super hard to be a nice person. But the pressure. He takes on a lot. And I think he has this sense that only he can do everything as best as it can be done,” Newton said before telling a story about a scene, with “so many extras” and pyrotechnics, she and Cruise were in together:
“Tom was not happy with what I was doing because I had the sh*ttiest lines. And he gets so frustrated with having to try and explain that he goes, ‘Let me just — let’s just go do it. Let’s just rehearse on-camera.’ So we rehearsed and they recorded it, and then he goes, ‘I’ll be you. You be me.’ So we filmed the entire scene with me being him — because, believe me, I knew the lines by then — and him playing me. And it was the most unhelpful. I can’t think of anything less revealing. It just pushed me further into a place of terror and insecurity. It was a real shame. And bless him. And I really do mean bless him, because he was trying his damnedest.”
Newton doesn’t think Cruise is “horrible” (“It was just… he was really stressed”) but he does give horrible Christmas presents. “He was very generous and open about sharing Scientological stuff. Christmas gifts would be something to do with Scientology,” she said. “Like a book with the greatest hits of Scientology, a bit like a Bible kind of thing. I was curious, because it’s like, ‘Wow, if it’s going to attract people, powerful, high-profile people, there’s got to be some glue that sticks this sh*t together.’ Didn’t find any.”
Tom Cruise is a maniac and very bad at Secret Santa? Sounds about right.
Netflix’s comedy coffers unfurl a new stand-up special almost every Tuesday. This week, Jim Jefferies latest, Intolerant, arrives… and the timing, to use one of his favorite words, is “sh*t.” No comedian could possibly enjoy following up on Eric Andre’s immensely well-received Netflix special, Legalize Everything. Both specials obviously wrapped filming long ago, and while Andre’s special contains brilliance for which he should be credited (his Cops bit went viral for solid reason: it’s gut-bustingly funny while resonating amid recent Black Lives Matter protests), Netflix’s release strategy there was impeccable. Oh, and prior to Andre’s special, Dave Chappelle hot-dropped his police brutality-focused 8:46. Chappelle’s special was timed as a reaction to George Floyd’s death, but Andre’s special feels prescient, which puts Jefferies in an awkward lineup position.
Both Andre and Chappelle’s specials shall continue to reverberate, as they should. Yet with Jefferies apparently attempting to move away from his own hot-button reputation, this moment isn’t spectacular for that kind of shift. He (arguably) risks being seen as lacking the sharp wit (and bite) for which he’s become known onstage.
Look, Jefferies knows what it’s like to be that guy onstage — the comedian who, despite an extensive body of work, has one bit that overrides his entire reputation, partially down to the bit’s spectacular nature lining up with current events — too. I’m talking, of course, about his 2014 Bare comedy special, in which the Aussie comedian aired his opinion on gun control. That bit grew more notorious with each U.S. mass shooting to follow, and as Jefferies later stated in 2016’s Freedumb special, being the comedian that gets mentioned whenever there’s a massacre isn’t as fun as one might imagine. He received nearly 800 pieces of hate mail in one day following the Paris Attacks. In his 2018 special, This Is Me Now, he further revealed that Mariah Carey invited him to perform at Aussie billionaire James Packer’s birthday party specifically because of the gun-control bit.
One can see how such sudden notoriety (and the venom that followed) could wear on him. With This Is Me Now, Jefferies began to shift gears, to become less focused on issues, and with Intolerant, it feels like he’s pulled a 180 from where he was five years ago. It’s a little discombobulating. Some people might not like it. I still found value for a few reasons, including how it’s sometimes calming to slide into absurd comedy (with no serious issues discussed) for 70 minutes. Jefferies does get incredibly banal in this special, but beyond that (which I’ll touch on later), he makes two solid points:
(1) Stand-up comedy’s in a strange place: As Jefferies puts it, “Comedians are enemy #1.” Not only has he been fielding hatred from the pro-gun crowd, but jokes that went over well a decade ago often don’t work anymore. What’s socially acceptable now isn’t the same as it was back then. We know that already, but there’s an excellent bit (better than any I’ve seen before) in Intolerant that explains how “the line” has shifted. All of this puts comedians in a tough spot when it’s their job to be edgy. This got me thinking… guess who wasn’t edgy onstage, but turned out to be a monster in real life? Bill Cosby (although that 1969 Spanish Fly joke came back with a vengeance). Yeah, no one is trying to pull any sort of Cosby here, and it’s important to note that Jefferies isn’t totally shying away from edginess. He’s actually more hyperbolic now, but the material’s borderline preposterous. I’m not confident that it will translate well in 2020.
(2) One doesn’t have to love every joke in a stand-up set: Jefferies makes an interesting point. People are quick to trash an entire special if they don’t like every joke, but he hopes that people can squish that tendency. As an example, he refers back to Chappelle’s 2019 special, Sticks & Stones, in which Chappelle made clear that he does not believe Michael Jackson’s accusers. That didn’t sit well with many people, including Jefferies, who eviscerated Cosby in Freedumb. As Jefferies now puts it in Intolerant, Chappelle “said that he thought that Michael Jackson didn’t f*ck kids… I think Michael Jackson did f*ck kids… that’s how me and Dave differ.” Yet he’s still able to enjoy the rest of Chappelle’s 2019 special. One might wonder how Jefferies can look past such a massive disagreement with Chappelle, but, for real, it’s happening right now with everyone who’s thoroughly enjoying the 8:46 special.
The overriding theme of Intolerant — which is otherwise practically about nothing (he airs many seemingly arbitrary grievances and frames them within a story about his most disastrous night with lactose intolerance) — is that Jefferies is moving on from being the gun-control fellow. In doing so, he pointedly fires off an array of jokes that aren’t too consequential but are bound to rile up a lot of people. He comes for pretentious waiters and people with peanut allergies and selfie addicts and the inconsistency in which society spreads “shame” around to various addictions (that last subject will likely be the most incendiary). There’s a ton of bodily function humor, although to be fair, Eric Andre’s new special goes there, too (can’t say I’m a fan of that rimming/Nutella bit).
Jefferies remains a master of framing his sets, although I’m sure that a blow-by-blow of the lactose catastrophe will be viewed as frivolous right now. Again, the timing may be awful for a previously hot-button guy to drop a 100% un-serious special. And never, not even if I was Eddie Murphy, would I want to be the comedian who dropped a Netflix special two weeks after Eric Andre’s Cops bit. Intolerant might be a palate (and intestinal tract) cleanser in many ways, but only time will tell if it can push Jim Jefferies into a new phase — one that he so pointedly desires.
Jim Jefferies’ ‘Intolerant’ stand-up comedy special streams via Netflix on July 7.
The 12-episode series will kick off on July 14, when the first three episodes will be made available exclusively on Spotify. After its debut, the series will continue to release one episode weekly on Tuesdays.
Beyond Baumgartner and Eilish, a lot of the show’s cast members are set to make appearances on the podcast, including Steve Carell (Michael Scott), John Krasinski (Jim Halpert), Rainn Wilson (Dwight Schrute), Jenna Fischer (Pam Beesly), and Angela Kinsey (Angela Martin), along with other actors from the core cast and beyond.
EW notes the show “will start from the very beginning of the show’s inception, when co-creator Ben Silverman met with UK’s The Office creator Ricky Gervais at a Starbucks in SoHo about adapting the popular workplace mockumentary sitcom,” and that it “will discuss everything from the search of a network home, to the casting, assembling the talent behind the camera, and memorable storylines and major moments from the show.”
Listen to a teaser for the podcast below.
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…. Now pull up and catch this Trap Muzik fade big fella…. @50cent @verzuztv @therealswizzz @timbaland #24hrsToRespond Repost if you ain’t scared of this nigga @50cent Hook this shit UP
I AINT SCARED OF THIS NIGGA
Westside Zone1 Atown BANKHEAD SHIT UDIGG 
