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Japanese Breakfast impressed at last year’s Coachella. But while all eyes were on her, the artist born Michelle Zauner was distracted by an unexpected guest in the audience.

Zauner was guest for yesterday’s (March 12) episode of the Conan O’Brien Needs A Friend podcast, and the two rehashed how they became acquainted “a number of months ago.”

O’Brien shared that his daughter, Neve, invited him to attend Coachella with her. In the car, she played him the bands scheduled to play at the festival without revealing any of their identities to O’Brien. She tasked her dad with choosing which sets they should see.

“She’s playing me all different kinds of music, and I’m saying, ‘I like this one. I like that band. Yeah, this one should be good,’” O’Brien told Zauner. “And then I singled out — she played me a couple songs, and I said, ‘This is the band we have to see. We have to see this band.’ And she said, ‘Correct! That is Japanese Breakfast!’”

So, Conan and Neve predictably went to Japanese Breakfast’s Mojave tent set, where O’Brien was mesmerized by Zauner’s use of a gong during “Paprika.” All the while, Zauner was mesmerized by O’Brien in the VIP area at the side of the stage.

“It was hard to not just, like, look at you when we were playing because we were all just like, ‘Oh my god, Conan O’Brien is watching us play,’” Zauner said. “And so, I felt like I really had to perform for you. I feel like I was just watching you and hoping that you didn’t walk away. That was like my marker. But then, in retrospect, I feel like that must have uncomfortable — to be someone’s focal point.”

Maybe Conan and Neve will attend one of Zauner’s upcoming stops on her Crying In H Mart book tour beginning on March 27 in Brooklyn, New York.

Watch the Conan O’Brien Needs A Friend clip above.

During last night’s Oscars ceremony, FX dropped a full first teaser for The Bear, which makes sense, given that the pressure-cooker show became a sleeper hit with people clamoring for Season 2 (now arriving in June). However, the network also did back up to provide a preview sizzle reel of sorts, which means that we received a brief glimpse of footage for Justified: City Primeval, the revival that will bring back Timothy Olyphant as Elmore Leonard’s extralegal-happy lawman Raylan Givens.

If you were worried about whether this revival could nail the vibe, well, I cannot appease your fears yet. However, HBO delivered the crescendo-and-expletive-laden goods with another Olyphant-starring revival for Deadwood: The Movie, so there’s plenty of reason to believe that FX will treat your other baby properly. Catch a glimpse, now, of Olyphant back in action.

Raylan Givens can spar like no other with the bad dudes. Let’s hope he whips out more fried chicken. And granted, this footage barely shows anything, yet it’s an effective teaser in every sense of the word.

Previously, Olyphant told Conan O’Brien about the “insane” real-life shootout on the City Primeval set. Actually, that’s a fantastic story to behold, but so is nearly every other meeting between Olyphant and O’Brien. While we’re waiting for this new Justified series to arrive, rewatching a few of those talk-show moments would be a delightful way to pass the time.

Justified: City Primeval should arrive sometime in Summer 2023.

The Oscars have been a lot of fun these past few years, but only because of the disasters. Warren Beatty mixed up the cards for La La Land and Moonlight, Will Smith slapped Chris Rock and gave an unhinged speech — those unscripted moments are what we remember, which is a good thing, because before The Slap, last year’s ceremony might’ve been its dullest, most irrelevant ever.

A lot of that came down to the palpable sense that the Academy was trying so hard to be relevant, culminating with the addition of the “fan favorite moment” award, chosen by social media. Which ended up being “The Flash entering the speed force” in the Snyder Cut of Justice League, a moment remembered and beloved by at least 14 guys with anime character avatars. It was embarrassing. The Oscars are designed to be embarrassing, but not like that.

The past six or seven years of Oscar ceremonies have all felt to some extent like apologies, like the Oscars were sorry that they were the Oscars and would try hard to be something else. They’d nominate more populist movies (which was part of the push to expand Best Picture to 10 nominees), shorten the ceremony, include less pageantry, all in the desperate hopes of becoming “more relevant” or less of a punchline, as if having more punchlines was somehow a bad thing (the world needs punchlines!). It made sense in the larger context of culture a couple years ago, when three out of every five Super Bowl commercials were corporations apologizing for something and promising to do better.

While it may have lacked a big conversation piece moment, this year’s Oscars felt like they finally stopped trying so hard to be something else. Jimmy Kimmel was an affable host* with a few decent barbs (I enjoyed him encouraging people to take bets on whether Robert Blake would be included in the In Memoriam montage), who seemed like he was doing the jokes that would’ve been weird not to do (he did also reference Scientology, in a fairly gentle way) without going full Gervais “Oh did I offend you?” mode. Mostly he did a lot of trivia about who was nominated and what milestones they represented, so that we at home could turn to each other and say things like “Did you know Judd Hirsch was 88? Gosh!” “Two guys from Encino Man nominated in the same year? How about that!”

(*Jimmy Kimmel is a lot like sports announcer Joe Buck in the sense that lots of people I know seem to loudly hate them, and while I support the concept of someone who just shits you for no particular reason, neither of these particular guys particularly shit me.)

That helped steer the focus away from who actually “deserved” to win and why, and more towards whose win would make for the best story. Which seems like both a more enjoyable way to watch the Oscars and a more accurate predictor of who will end up winning. Don’t ask me which actress actually had the best lead performance this year, but if you ask me whose speech I most wanted to watch it was definitely going to be Michelle Yeoh. A few of the presenters were charming and funny, most were kind of self-serious, and Harrison Ford looked like he was trying to read what was on the prompter as dryly as possible so he could go back to his nap. Bring him back every year!

This year’s Oscars seemed content to let the format itself do the heavy lifting, and it was the right move. For my generation, I think a large part of our conception of what the Oscars is and could be was formed by Naked Gun 33 and 1/3rd, whose finale took place at the Oscars telecast. Frank Drebin and his wife Jane, if you’ll remember, sneak into the ceremony when the crowd is too distracted by the arrival of Weird Al Yankovic and Vanna White.

This is a moment that’s stuck in my head for 30 years, and it’s still funny now, because it speaks to the comedy inherent in the event. That there’s going to be absurdist pairings of celebrities, like a parody song accordionist and the lady known for turning letters on a game show, and they’re going to be performing wildly over-scripted monologues about the bravery of doing make-believe. There were plenty of moments like that in this year’s ceremony, like Lady Gaga coming out in casual black jeans to announce, “I wrote this song with my friend BloodPop and it’s very personal for me,” before singing a song from Top Gun 2.

There was also, naturally, an Oscar-nominated artist (Tems) wearing an outfit so elaborate that no one seated behind her could see the stage:

…the existence of which naturally led to competing allegations of “YAAAS QWEEEN” and “this rude woman should be in prison!”

John Travolta cried while introducing the In Memoriam segment, which snubbed a bunch of dead people (a thread) as is tradition, but more importantly was set to a live song sung by, who else, Lenny Kravitz. My friend Joe texted me, “If Rachel dies I will also have Lenny Kravitz sing. I want the guy with a dick ring to serenade my dead wife.”

Hugh Grant got probably the biggest laugh of the night coming onstage with his Four Weddings And A Funeral co-star Andie McDowell, comparing McDowell (“still stunning”) to himself (“basically a human scrotum”) in a moment that was either unscripted or played so well by McDowell that we could’ve believed it to be.

And even that was arguably not as funny as the red carpet interview Grant gave earlier in the evening (which I’m only just seeing this morning). Red carpet reporter Ashley Graham was trying to do the usual fluff interview where she asks actors about parties and designers, and Hugh Grant was trying to perform a slightly pompous, very British act of self-effacement calling the event “a vanity fair.” Which Graham immediately misinterpreted as a reference to the famous Oscars after-party hosted by the magazine Vanity Fair. “Oh yeah, that’s where we let loose and have a little fun,” she riffed.

Things sort of spiraled from there, with Graham not really getting it, Grant refusing to “yes and” and both of them not quite understanding each other like two well-coiffed ships passing in the night. Meanwhile, the graphics department superimposed them in front of live shots of Rooney Mara looking incredibly bored. It was straight out of a rom-com, complete with Hugh Grant’s annoyed side eye at the end, the perfect button to the scene.

That’s the Oscars, baby! It’s where the pomposity of artists and the vacuity of entertainment reporters collides, and we can all be happy that a fourth-generation celebrity was finally recognized by their peers.

That’s what makes it great. It was never fun because it recognized the best movies, or because it was important to the common man, or represented an accurate cross-section of America. It’s a fun, silly, escape from reality that allows people of all stripes to come together to both worship and make fun of celebrities. We can get choked up by Harrison Ford presenting an Oscar to Ke Huy Quan, which is touching solely because we saw them eat fake monkey brains in a movie together when we were 11. That’s so dumb! And that’s okay.

Vince Mancini is on Twitter. You can read more of his reviews here.

Even though the Academy Awards had a ceremony free of any physical violence this year, that doesn’t mean that there weren’t some major slip-ups. As many fans have noted, the annual In Memoriam segment was drastically cut short this year, presumably to make room for more awards to be televised. But in doing so, many names were left out of the segment, causing a lot of backlash from fans and celebrities alike.

Paul Sorvino, who passed away last July, was one of the many iconic actors to be axed from the tribute, which was accompanied by Lenny Kravitz on piano. Also missing from the tribute was Triangle of Sadness’ breakout star Charlbi Dean, Anne Heche, and Leslie Jordan. Obviously, this was not well-received.

Sorvino’s wife Dee Dee released a statement to Entertainment Tonight, expressing her disappointment and frustration with the Academy for allowing the segment to be cut back. “Paul Sorvino was one of the greatest actors in cinematic history in Hollywood,” she began, adding that they should have never cut any of the In Memorium feature for time. “It is unconscionable that he would be left out of the In Memoriam segment of the Oscars. It’s a three-hour show, they can’t give a couple more minutes to get it right? Paul Sorvino gave decades to this industry and was loved by all.”

To make matters even messier, the tribute was accompanied by a QR code that was intended to be scanned by viewers who wanted to see the entire segment online, but that idea did not go over well with fans. Sorvino continued, asking for the Academy to address the issue. “Paul was not the only deserving soul left out, and a QR Code is not acceptable. The Academy needs to issue an apology, admit the mistake and do better. Paul Sorvino deserves better, the audience deserves better, is the Academy so jaded they forget people who are loved, who have given their hearts to this industry? Shame on the Academy if this is not corrected. Mistakes are made, this was a big one. Please do something to make it right.”

The Academy has yet to respond to the criticism, though many fans have taken it upon themselves to share their own memorials for those who were not mentioned on the broadcast.

Maybe next year, the ceremony will go down without controversy, but that’s some wishful thinking.

(Via Entertainment Weekly)

The Las Vegas Raiders came into this offseason knowing they would need a new quarterback after releasing Derek Carr (who has since signed with the Saints).

Vegas holds the 7th overall pick on this year’s Draft and was expected to be one of the teams in play for a top-4 quarterback in this class — Bryce Young, CJ Stroud, Anthony Richardson, and Will Levis. However, after Carolina jumped them to move up to No. 1, they became the fourth team in the top 10 expected to pursue a QB, which means they’d have to want whoever is leftover.

As free agency opened, word began circulating that they would be looking at Jimmy Garoppolo as a potential signing, and two hours into free agency after seeing Jarrett Stidham walk to Denver, they landed their guy on a three-year deal.

After country star Morgan Wallen was filmed using a racial slur back in 2021, there was some backlash. He was banned from that year’s AMAs (despite being nominated), many of his country peers spoke out against him, and he lost his record deal. Broadly, though, it didn’t feel like he was outright canceled across the board, and he actually had a more prosperous 2021 than just about any other musician: Dangerous: The Double Album was the most-streamed album of the year.

Earlier this month, he released a massive 36-track album, One Thing At A Time, and that one is also doing remarkably well.

It was revealed yesterday (March 12) that the album, Wallen’s third, is No. 1 on the Billboard 200 chart dated March 18. It had 501,000 equivalent album units earned in the US during the week ending March 9, which is the biggest week for an album so far this year. The album racked up 498.28 million on-demand official streams in the US, the biggest week ever for a country album and the fifth-biggest of all time across all genres.

The success continued today: On the new Hot 100 chart dated March 18, Wallen’s single “Last Night” is No. 1, making it his first Hot 100 chart-topper. That’s not where his Hot 100 presence ends, though. In fact, he has five top-10 singles this week, with spots 7 through 10 occupied by “Thought You Should Know,” “You Proof,” “Thinkin’ Bout Me,” and “One Thing At A Time.”

Wallen certainly has a supporter in Lil Durk, who put him on last year’s 7220 album.

Billie Eilish fans want new music, and they want it now. Last week, one tweeter called Finneas a liar for teasing the follow-up to Happier Than Ever back in December 2021. “Great things take time,” Finneas responded.

If Eilish’s eager fans are also sneakerheads, they’re about to receive a solid consolation prize.

Today, March 13, Eilish and Nike announced jointly announced her next Air Force 1 silhouette — “low in white” — will arrive March 22 on Eilish’s website before hitting the SNKRS app and select retail stores on March 23.

Nike shared an Instagram video of Eilish modeling the shoes alongside the caption, “The latest @billieeilish x Nike Air Force 1 Low combines the timeless white on white colorway with the familiar patchwork upper, creating a future favorite with infinite styling options.”

Eilish has been working with Nike since 2021. First, she designed two Air Jordan silhouettes — both 100-percent vegan — that September, followed by the Air Force 1 Billie “Mushroom” last April.

Whether haggling for new music or reacting to new sneakers, fans’ social media feedback likely won’t reach Eilish. She and Finneas chatted with Conan O’Brien for an upcoming episode of Conan O’Brien Needs A Friend and revealed, “I don’t look at it anymore. I deleted it all off my phone, which is such a huge deal for me.”

On Sunday, Brendan Fraser took home a Best Actor Oscar for Darren Aronofsky‘s The Whale. Now, coming only two days later, Aronofsky wants to take you all the way back to 1998 to relive his first film (or, maybe more likely, watch it for the first time), back in theaters for one day with a newly remastered print, Pi.

It’s actually a very unique story. Back in 1998, with absolutely no leverage to do so, Aronofsky brokered a deal that would return the rights to Pi back to him after 25 years. What seemed like an eternity back then to a young filmmaker has, now, come to fruition. The rights for Pi returned to Aronofsky and he turned around and sold it again to A24, who are now putting it back in theaters for “Pi Day” on March 14th.

It’s interesting watching Pi today. It feels like a movie pulsating with every topic Aronofsky would explore with later films. As the protagonist, Max, becomes obsessed with numbers, it does feel like there’s a numerical formula from this film to follow that lays out Aronofsky’s entire career. When I mentioned I can draw a direct line from Pi to The Whale, at first Aronofsky poo-poos this notion, before actually conceding I may have a point.

Ahead, Aronofsky tells us how he negotiated this pretty unusual deal, and what it’s like trying to get back in the head of the filmmaker he was in his 20s.

You took a break from your never-ending press tour for The Whale to do press for a different movie.

[Laughs] I mean, it’s kind of slowed down, The Whale stuff. I haven’t been doing that much for a while. Just moderating a few Q&As with Brendan and Hong and the makeup department. But otherwise, just been getting ready for the next thing.

Is this more fun? Talking about a 25-year-old movie? As opposed to having to try and sell something new?

Sure. I mean, I’m happy to do this. I’m pretty happy to do the press at the beginning. It’s just that when you’re up to your 400th interview, it’s a lot. But this is one day of press and it’s happy to bring back the memories. This whole thing’s been kind of just a gas and a lot of fun the whole time.

So I re-watched this a couple of days ago. By the way, after this I realized I hadn’t seen The Fountain in a long time either. Both are around 90 minutes, which made that pretty easy.

I like the 90-minute movie! Pi is 79 minutes. I love that length.

So here’s what went through my head while watching Pi. This is my theory. It is like watching your Big Bang, everything condensed about what you make in movies just crammed into this first thing and then it explodes and informs all your other movies. The spiral from Pi is all your other movies coming out of Pi to this day.

Yeah, I don’t know… There are some original ideas that show up, but I can’t account for them. I just sort of follow what I’m interested in and have been lucky enough to make those types of movies. So that’s exciting.

I can make direct comparisons between Pi and The Whale.

Sure.

Two people who are both obsessed, addicted…

They’re both about two shut-ins.

And then someone offering religion shows up.

That’s true.

There are some parallels here. And that surprised me.

Yeah, no, well, you just surprised me. I never thought about it. Oh, yeah, the religion pushes through the doors and starts to try to make him more religious and stuff. So that’s funny.

How do you feel when you go back and watch something you made in your 20s?

I was happy after I watched it. Because we did this arduous task of going back to the original film. So, basically, the same film that passed through the camera is this film called Black and White Reversal…

Yeah, I was reading about that.

Yeah, it gets developed and it’s like a Polaroid thing and I had never seen that ever projected, because we treated that like our negative. And then when we cut it together, we actually cut those positives, and then we had to shoot it with 35-millimeter negative and then we had to print off that negative. So the only thing I ever saw was a third generation down. So, for me, it was so interesting because there was so many more details and the whole look of it was different when we went back and scanned it all at 8K. The IMAX people were like, “We’ve never seen anything like this. Most people want to get rid of the grain and they want to get rid of the texture.” They were nervous to show it to me. And I was like, “No, I love it.”

I am a fan of grain.

So finally, when I did watch it all together for the first time, I was like, “Oh, there’s some totally crazy ludicrous ideas in this.” But ultimately, it’s pretty nonstop interesting. And so I think it could play. People will actually enjoy it. It constantly keeps your attention.

I remember in the ’90s thinking it was a weird movie. It doesn’t seem as weird now.

It was weirder at the moment. It’s just the world has gotten really, really weird.

Maybe that’s it.

I think the world’s gotten more weird. But I think back then, people weren’t really doing sci-fi in independent films. And working in black-and-white reversal was kind of a fresh idea. So I think it was different to what was out there in the landscape. But anyway, just how it played out.

I read that a lot of the cost of this movie just went into buying the film. Are you envious of filmmakers in their 20s now that can just go out on their phone and start doing stuff and don’t have to worry about that?

Back then, there was no way to make a film except if you actually bought film and filmed something and cut it together. And then there was no way to distribute film unless you got a distribution deal. There was nothing to do. It’s so exciting right now. If I was a young filmmaker, I would definitely be using my smartphone and just going out in the streets and telling stories with that and trying to figure out how to use the different tools that are available now, which are expanding so quickly in such a crazy way at this moment. It’s a great time to be a storyteller.

Pi aged well. I completely forgot it takes place in the 90s except when a floppy disk shows up.

And the rotary phone.

Oh and that.

The thing is, there were at the time of course touchpad phones or whatever they call them, but I chose to go rotary to kind of confuse the time and the aesthetic a little bit.

It’s not a movie filled with cultural references that are dated.

There are none. And it’s set in Chinatown, which hasn’t changed at all. Actually, I had dinner last night on the corner where we shot a scene where Max comes out of the train station. I was like, “Oh, that’s weird to be right back here again 25 years later, or 26 years later.” But yeah, I think the ideas, they still work. I mean, even predicting the stock market and all those ideas and people looking for patterns and stuff, it’s all kind of still in culture here and now.

And the prediction that a recession was coming. You nailed that one. It came.

Well, you always know that’s going to happen.

I’m fascinated by this contract. So how did this work? Why did you get the movie rights back? What contract did you have where you all of a sudden own the movie again and you can sell it to A24?

Not me, but all the filmmakers. It happened because, it was very much like this socialist pact amongst the filmmakers where I, as the director, had the same amount of ownership as anyone who worked on the film for that length of time. So when we went to Sundance, I was really in awe of Jim Jarmusch, who always basically got his films back after seven years. He would finance them out of Japan in places and then just licensed them for under a decade. And so when we started making the contract, I was like, nope, we’ve got to get it back. We’ve got to get it back. And I was so annoying about it. Eventually, the head of the studio was like, “Fine, give it back to him in 25 years.” And so it was always in back of my head. So it was just that.

Well, yeah, but as your first movie, that’s a lot of…

Chutzpah?

Yeah, that’s exactly the word. You probably weren’t in much of a position to be making demands and yet you did.

I was in no position. No position. We only had one company, Artisan was bidding on it at the time. There was no one else that was bidding on it. So we didn’t really have any leverage. But it was just an important point. There were a few important points that we wanted to make sure would happen and we kind of stuck to our gun and we were lucky that they decided to honor them.

Is this the only movie you had that deal with?

Unfortunately, that’s correct.

So you don’t get Noah back in 15 years or anything?

No, I think once they start spending real money, there’s no way in hell you’re getting it back.

So you get the rights back, was the plan always to resell it?

Well, that’s why I teamed up with A24. We had such a great run with The Whale.

I didn’t know if there were other options before that.

Yeah, it’s all been very quick. We got the rights back in January. January 21st. And then we made the deal. We were already making the deal. I knew it was coming up and the one thing I really wanted to do was an IMAX screening because I thought it would just be a lot of fun to do it.

On Pi Day.

Yeah. I’m hoping that this becomes a yearly tradition where people can go check out the film at IMAX on Pi Day as a way of celebrating mathematics.

This makes me think you had a very nice experience with The Whale, working with A24.

Oh, they’re amazing people and they’re very honest. They’re very straightforward and it was a great journey with them. So I’m happy to be in business with them. The other thing I like about it is that they’re such a youth brand. There are so many young people who love them and I’m hoping that they can help introduce Pi to that younger audience.

I’ve wanted to ask you, especially after watching these two movies back to back, Pi and The Fountain: why do most of your movies have these pretty deeply religious themes? But you’ve never been pigeonholed as a director who only directs about religious themes, but yet they’re present a lot.

I don’t know… I think that the mythology… I’m more interested in religion, not for spiritual reasons, but I love the mythology of it. I love how they take on larger meanings because they are these stories that are so integral to our culture and to our reality that they affect people in lots of ways. So it’s like, I just think there’s a lot of power in story. And using the oldest stories we know to reinvent them and reinterpreted them is been always something I’ve been interested in.

You can contact Mike Ryan directly on Twitter.

Over the past year or so, elder millennials have been dismayed to learn that the 15-year sample cycle has finally gotten to some of our high school classics. Ice Spice, the rap it-girl of the moment, snatched a sample of Diddy’s “I Need A Girl, Part 2” for one of her latest viral favorite singles, “Gangsta Boo” with Lil Tjay, and now, another pair of rappers from the opposite end of the spectrum have hijacked the sample for their own use.

Jpegmafia, who is pretty well known for his love of unusual sounds and contrarian approaches to popular hip-hop, teams up with Danny Brown for “Lean Beef Patty,” a chaotic track that speeds up the 2002 hit and combines it with a pounding, electronic synth to truly unsettling effect. The self-produced track is set to appear on Jpeg and Danny’s upcoming joint project, Scaring The Hoes, Vol. 1, which is named after a popular meme about playing unusual rap music at parties and “scaring the hoes.” Both rappers know a thing or two about this sort of unfair characterization.

But if unconventional rap music is your thing, you could do worse than a joint album featuring the two hip-hop mischief makers. You can pre-order Scaring The Hoes here.

In the days leading up to the release of Black Adam, and in the weeks that followed, The Rock talked a very big game about bringing back Henry Cavill as Superman and building up to a film where the Man of Steel would go toe-to-toe with The Rock’s Black Adam. It certainly helped that Cavill announced he was back following his barely secret cameo in Black Adam, and The Rock made it a point to note that he personally fought Warner Bros. to make Cavill’s return happen.

And then it all fell apart.

A few weeks after Cavill touted his return, incoming DC Studios chief James Gunn announced that he’s moving forward with a new Superman movie. That film, now known as Superman: Legacy, would star a younger actor (a.k.a. not Henry Cavill), and just like that, it was over. Gunn would also meet with The Rock and the two would release cordial statements saying Black Adam 2 is still a possibility, but just not in Gunn’s Chapter 1 of the DC Universe.

Since then, The Rock has been quiet on the matter, but while attending Sunday’s night Oscar, he opened up about watching Cavill’s return as Superman fall apart despite the Black Adam star’s best efforts. Via Variety:

“All that I can do, and all that we could do when we were making ‘Black Adam,’ was to put our best foot forward and surround ourselves with the best people and deliver the best movie we could,” Johnson said. “Our audience score was in the 90s. Critics took a couple shots, but that’s just the business of it.”

“It’s almost like when you have a pro football team and your quarterback wins championships and your head coach wins championships and then a new owner comes in and says, ‘Not my coach, not my quarterback. I’m going to go with somebody new.’”

To his credit, Gunn has been candid about the Cavill situation, which he blamed on studio execs and possibly even The Rock himself.

“I like Henry, I think he’s a great guy,” Gunn said during the press event for his DC Universe Chapter 1 plans. “I think he’s getting dicked around by a lot of people, including the former regime at this company. But this Superman is not Henry, for a number of reasons.”

(Via Variety)