Sabrina Carpenter‘s new music is coming sooner than you think. Today, the former Disney star turned pop singer announced her fifth studio album, Emails I Can’t Send, set to arrive next month.
Emails I Can’t Send marks Carpenter’s first album since leaving Hollywood Records and signing to Island. Ahead of the album, she has released the songs “Skinny Dipping” and “Fast Times.”
Earlier this year, Carpenter spoke with British GQ about her new music and what fans can expect.
“My recent songs ‘Fast Times’ and ‘Skinny Dipping’ don’t sound like anything else I’ve put out previously,” she said. “And I think that’s a good indication for what the rest of the album is going to bring. The [other] songs don’t necessarily sound like those two, but there will be an unexpectedness. I can say that everything is based on my life, so you’re going to get some specific stories and memories, [and] that is actually quite terrifying. I’ve experienced both me being discontent and also happy, so I want to show that. It’s going to be complex.”
Carpenter will drop the album’s newest single, “Vicious,” tonight, on all digital streaming platforms.
Check out the album artwork below.
Island
Emails I Can’t Send is out 7/15 via Island. Pre-save it here.
Sometimes the best new R&B can be hard to find, but there are plenty of great rhythm-and-blues tunes to get into if you have the time to sift through the hundreds of newly released songs every week. So that R&B heads can focus on listening to what they really love in its true form, we’ll be offering a digest of the best new R&B songs that fans of the genre should hear every Friday.
Since the last update of this weekly R&B column, we’ve received plenty of music and news from the genre’s artists. Beyoncé officially kicked off her Renaissance era with the release of “Break My Soul” and Brent Faiyaz announced the release date for his Wasteland album with his “Price Of Fame” single. Elsewhere, Giveon released a video for “Lost Me” as did Ambre for “Wild Life…” while Ravyn Lenae dazzled with a performance at NPR’s Tiny Desk.
Here are some more releases you should check out:
Giveon — Give Or Take
Giveon’s pair of 2020 EPs — Take Time and When It’s All Said And Done — helped establish him as one of R&B’s newest and most promising artists. Nearly two years after the latter project arrived, Giveon returns with his official debut album Give Or Take. Through 15 songs, the Long Beach singer struggles to both find and commit to love.
Jessie Reyez — “Fraud”
More than two years removed from the release of her debut album Before Love Came To Kill Us, Jessie Reyez arrives with her new single “Fraud.” On the vulnerable record, Reyez details her experience with unrequited love and her efforts to try and free herself from the cycle that brings her more pain than happiness.
Vedo & OG Parker — “Face Down”
In 2020, Vedo dropped his fourth project For You which spawned the fan-favorite “You Got It.” The following year, he dropped his fifth effort 1320 which was highlighted by songs with Ari Lennox, Eric Bellinger, and more. Now he’s kicking off his next era with the sultry and seductive “Face Down” which features production from OG Parker.
Chris Brown — Breezy
For the first time in almost a decade, Chris Brown delivered an album that was not insanely long and a workout to get through. Breezy, his 12th album, arrives with 24 songs, a fairly normal amount in the streaming era, and a slew of collaborators that includes Lil Durk, Lil Wayne, Wizkid, HER, Bryson Tiller, Ella Mai, Blxst, and more.
Kent Jamz — Fanclub
Since 2008, Kent Jamz has been best known as a member of the Overdoz rap collective, a group that’s released five projects between 2008-2017. after all those years, Jamz has stepped forward with his debut album Fanclub. It presents 14 songs and guest appearances from Buddy, ASAP Ferg, and GodoJoon.
Kirby — “New D”
A new chapter is underway for Philly singer Kirby, and to kick things off, she returns. with “New D.” The song is her first single since 2021’s Sis. He Wasn’t The One, and on it, Kirby expresses her displeasures with a current relationship and she desires a new man — and “New D” — to really spice things up.
Blk Odyssy— Blk Vintage: The Reprise
Almost a year after he released their debut album, Blk Odyssy — the project of New Jersey artist Juwan Elcock — returns with the project’s deluxe version. The re-release extends the project to 15 songs with the addition of five songs and collaborations with Baby Rose, Mereba, Benny The Butcher, and more.
Bils — Bad Guys Need Love Too
After years of releasing loose singles to his growing supports, Nigerian singer and songwriter Bils returns with his first project in five years with Bad Guys Need Love Too. The project, which follows 2017’s Pay Your Bils: Eviction Notice, arrives with six songs and features from Big Klef, Simi, Ice Prince, and Liya.
Larrenwong — “Deacon”
Los Angeles singer Larrenwong ended his 2021 year with his It’ll Make Sense Soon EP. Nine months later, Larrenwong is ready to release a new body of work and he kicks things off with “Deacon.” The track is from his upcoming project, Songs That I Hate To Sing, which is set to arrive next month on July 15.
Chxrry22 — “Call Me”
Back in April, Toronto singer Chxrry22 released her debut single “The Falls” after inking a deal with The Weeknd’s XO Records. A couple of months later and she returns with the uptempo “Call Me,” a record that she says came as a result of her “missing a bop” from her upcoming project. When that body of work will arrive remains to be seen, but for now, make sure to enjoy her latest record.
Rose Gold — “Addicted”
You may recognize Rose Gold’s name through work with Terrace Martin, YG, and more, but now it’s time that you get familiar with some of her solo work as well. Her latest single, “Addicted,” continues a streak of releases that dates back to late 2019. “Addicted” is also Rose Gold’s first release since 2020’s “Soon As You Get Home.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
If you’ve ever sat down to watch Stranger Things and thought “hey, I could make that!” then 1) you are not alone in that and 2) now you can!
Stranger Things creators The Duffer Bros have launched a series on MasterClass where you can learn the tips and tricks of writing your own TV show, though you probably don’t have quite the same amount of resources that Netflix has, but you can get there eventually!
The class will consist of 18 video lessons, totaling 5 hours and 18 minutes (about the length of three or so Stranger Things season four episodes, give or take). The brothers will go through their storyboarding, character development, and more to help fans create their very own storyline. Those who wish to take the course will have to sign up for a MasterClass subscription which costs about $180 a year.
“Our class is for anyone who dreams of telling stories for a living,” Matt Duffer said in a statement. “Writing can be a blast, but at times it can feel overwhelming, even impossible. We have spent months staring at a blank page, with no idea how or where to begin. But after years of struggle, we finally developed a writing process that works for us, a process that we now use every single day on Stranger Things.”
MasterClass says that the class will also feature “never-before-seen documents including initial brainstorms and plot outlines for Stranger Things.” Where is the plotline that brings Sean Astin back?
Ross, the other Duffer, added, “Finding an effective writing process is a huge step in your journey, but not the only one. What if, like us, you grew up far away from Hollywood, with no connections? How do you get anyone to read — much less buy — your script? In our class, we’ll cover that too. We’ll show you how to get your foot in the door — and how to get that idea off the page and onto the screen.” Maybe YOU can write the next smash Netflix series?! Please don’t kill off everyone’s favorite characters.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Guided By Voices was once dubbed “the Grateful Dead of beer,” a jokey but accurate allusion to the Ohio-based indie-rock institution’s hard-drinking ways and the devotion of their small but committed cult of fans. Though it could also apply to the restless creative process of GBV’s founder and sole charter member, Robert Pollard.
As is the case with the world’s most famous jam band, Pollard ultimately cares more about the journey than the destination. The flash of inspiration and the thrill of creation are what matter most, regardless of whether the resulting songs fully land or not. At its best, GBV’s music communicates that initial whippet-like excitement to the audience — you feel like you’re hearing Pollard’s songs as they occur to him for the first time. It’s an addictive experience, and it keeps you listening to every LP, EP, solo album, and side project, no matter how half-baked, because the possibility of serendipitous genius always, tantalizingly, remains.
GBV is also like a jam band in that following Pollard’s prodigious output can feel like a full-time job. When I came to his music in the mid-’90s and subsequently followed GBV on the road like a certifiable Miller High Life-head, I had a lot more time on my hands to dutifully sift through each volume of his endless Fading Captain series. But somewhere between Suitcasebox sets — in which Pollard released literally hundreds of songs that somehow didn’t already end up on any of the dozens of albums he’s officially put out over the years — I became more of a dabbler than an attentive Padawan. I got married. I had kids. And, of course, there are always other bands to care about.
All the while, Pollard kept moving. He broke up one iteration of Guided By Voices — the one from the late ’90s and early ’00s, which I saw on many drunken nights, let’s call them GBV 2.0 — and then revived the “classic” ’90s era 1.0 lineup while also putting out music under his own name and with various collaborators. And then he formed yet another GBV lineup for the current 3.0 era, which brings us up to now.
Any time any edition of GBV is playing in my area, I make sure to go see them. Still high-kicking and golden-voiced in his gray-haired mid-60s, Pollard remains one of my all-time favorite rock showmen and between-song shit-talkers. (Do I own Relaxation Of The Assholeon vinyl? Yes. Yes I do.) My most recent GBV gig was in March, and it was my favorite in years — not only did it spotlight Pollard’s ageless antics, but also the supple support of his band, the most athletic and versatile ensemble to ever support him, which was incredibly powerful.
As for GBV’s recent albums, I’ve found myself moving slowly from dabbler back to obsessive. For years in the late aughts and early 2010s, Pollard seemed to be writing the same song over and over, producing a lot of mid-tempo arena-prog caterwauling that sounded like Wire attempting to remake Genesis’ The Lamb Lies Down On Broadway without quite pulling it off. But working with the 3.0 lineup — which includes 2.0 ringers like drummer Kevin March and Pollard’s most crucial collaborator from the past 25 years, guitarist Doug Gillard — Pollard has expanded his musical palate more significantly than at any point this century. The outcome is a late-career golden age.
Still most associated with his mid-’90s work — in which GBV became indie-famous for minute-long, lo-fi songs on albums like 1994’s Bee Thousand and 1995’s Alien Lanesthat somehow hit with the anthemic force of Who’s Next — Pollard in recent years has made some of his most ambitious and sprawling LPs, like 2019’s expansive 32-song, 74-minute Zeppelin Over China and 2021’s dense and often thrilling concept album Earth Man Blues (which sounds like Wire attempting to remake Genesis’ The Lamb Lies Down On Broadway and actually pulling it off.) But what’s more impressive than the quantity or even the quality of GBV’s recent output has been Pollard’s ability to keep on surprising even his most loyal followers.
This Friday, GBV will put out its second LP of 2022, the (of course) inscrutably titled Tremblers And Goggles By Rank, which is precisely the sort of GBV album I would have never expected or thought I wanted — a tight rock record with zero filler. At 10 songs and 38 minutes, it’s 18 songs and three minutes shorter than Alien Lanes. You could even call it relatively “normal,” no matter that one of the catchiest tunes is called “Cartoon Fashion (Bongo Lake).” For this band, “normal” or “tight” are not necessarily compliments. But in this case, to my ears, they absolutely are.
Pollard has said that his guiding musical principle rests with the four P’s: pop, prog, psychedelia, and punk. These are the common elements that he’s worked with since he started writing songs as a pre-teen. But on Tremblers and GBV’s other (for now?) 2022 album, the similarly svelte and excellent 12-song Crystal Nuns Cathedral, the first “P” has been given special precedence. In fact, Crystal Nuns Cathedral and Tremblers And Goggles By Rank feel like a de facto double album that together culminate GBV’s current golden era. They stand as the best and most accessible music that Pollard has made since GBV’s last stab at “a tight rock record with no filler,” 2001’s Isolation Drills. I can’t stop playing them.
The pop appeal of Tremblers is obvious and immediate on the album’s first single, “Alex Bell,” an instant power-pop classic with a soaring, sun-kissed chorus that recalls “Chasing Heather Crazy.” The album’s second single, the hard-rocking “Unproductive Funk,” also nods to Isolation Drills, reviving the staccato guitar part from “The Enemy,” the most recycled riff in the GBV canon. (That riff is to Pollard what “Satisfaction” is to Keith Richards.) That song gives way to “Roosevelt’s Marching Band,” a Beatlesque beauty that (for the millionth time) shows off Pollard’s ability to inhale classic vinyl from the ’60s and ’70s and exhale new and sparkling bubblegum pop melodies.
When Pollard indulges the other P’s, he never lets up on the hooks. The pocket prog of “Cartoon Fashion (Bongo Lake)” is Yes’ Fragile by why of Big Star’s Radio City, with Pollard’s hilariously mush-mouthed, faux British accent howling over abrupt tempo changes and heart-tugging jangly guitars. “Focus On The Flock” evokes the big-sky psychedelia of 2021’s It’s Not Them. It Couldn’t Be Them. It Is Them!, and then explodes into a “Sparks”-like blowout. The album-closing “Who Wants To Go Hunting” is the album’s most epic statement, switching between lurching guitars and pastoral digressions beamed in from a Moody Blues record, before swelling to a stirring space-rock finale.
Do I want every Guided By Voices record to be as focused and fat-free as Pollard’s most recent output? Hardly. Nor would I expect Pollard to repeat himself. The next GBV record could be a triple-album, or it could come and go in three minutes. It’s been a few decades since Pollard stopped chasing mainstream acceptance, and started concentrating solely on making music only for himself and his audience. Not only do I appreciate his idiosyncratic artistic path, I find it inspiring. Even as listeners come and go from his flock, Robert Pollard has never lost his enthusiasm for making Robert Pollard music. The man has earned a toast, so I raise a beer glass to my indie-rock Jerry Garcia.
The best thing about writing about pop culture for a living, which I’m lucky enough to do, is getting early access to TV shows and movies, otherwise known as screeners. The worst thing about writing about pop culture for a living is the deep regret that you’ve wasted your life — and having to watch said TV shows and movies with a distracting watermark. You haven’t truly experienced Better Call Saul until you’ve watched it with your email address slapped across the screen to prevent privacy.
The Doctor Strange in the Multiverse of Madness actress still hasn’t seen the year’s second highest-grossing movie, as she explained on Wednesday’s episode of The Tonight Show. “I’m not one of those [actors who doesn’t watch her own movies],” Olsen said. “I’m one of those people who likes to study something so I can figure out how to make it better. But I had a cold when we had the premiere and I didn’t want to sit through it. And so I asked them to send a copy so I could watch it, and it had my name on it and it had the time that I was watching it, and I didn’t want to watch it like that.” She added, “My name was on it and the exact time and date. It’s just distracting.”
We’re not so different, you (the acclaimed star of multiple billion-dollar grossing movies) and I (a blogger). You can watch The Tonight Show interview above.
Since 2006, BBC’s CBeebies’ Bedtime Stories series has tasked a number of celebrity guests to offer a reading of a nice tale to set viewers off to bed. Phoebe Bridgers is one of the latest to take part in the storied tradition (her episode is No. 831), recording her installment from the Glastonbury festival grounds.
In a teaser clip, Bridgers introduces herself from atop a hill, with a view of the expansive festival area behind her. She also introduces the book, The Spectacular Suit by Kat Patrick with illustrations from Hayley Wells. Another clip shows Bridgers reading a brief portion of the story.
Wearing her very own spectacular suit, @phoebe_bridgers will be hosting this Wednesday evening’s Bedtime Story on CBeebies
A publisher’s statement on the book reads, “A buoyant and heartwarming celebration of individuality, identity, and dressing to suit yourself! It’s almost Frankie’s birthday and everything is ready — except for something to wear. All of her party dresses feel wrong. Her family tries to help, but it’s no good. What Frankie longs for is a suit. A spectacular suit… Can Frankie find the outfit of her dreams?”
It also notes the book is “the perfect gift for birthday parties, crafters, and children who don’t identify with traditional gender roles” and a “wonderful conversation starter for teachers and librarians to explore gender and identity with age-relevant material from #ownvoice creators.”
Watch clips of the reading above and watch the whole thing here (but only if you’re in the UK).
Prepare yourselves: Cardi B season is nearly upon us. With the release of the Bronx rap superstar’s new single “Hot Sh*t” coming this Friday, Cardi decided to give fans a little taste of what’s to come. Now, posting snippets of upcoming singles is pretty commonplace in hip-hop, but Cardi B doesn’t do “common.” She shared her snippet of the upcoming song — which also features Lil Durk and Kanye West — while having a luxurious rooftop breakfast in full glam wrapped in a glittering bathrobe and hair towel. She’s also surrounded by visual reminders of her massive success: The plates bear the Playboy bunny and she’s got a can of Whip Shots, her alcoholic whipped cream, beside her.
As for the song itself, it’s got a Cardi B signature trap beat complete with a skittering snare and a boastful Bardi verse. Her flow is notably smoother — she’s definitely been working on her breath control — and her wordplay is immaculate. “I don’t know what’s colder, man, my heart or my necklace,” she sneers. “Pretty when I wake up, I’m a bad bitch at breakfast.” What a flex.
“Hot Sh*t” is out 7/1 via Atlantic. You can pre-save it here.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish movies available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
What we have on our hands with this is a collection of new stunts and some behind-the-scenes of old stunts all featuring the sweet and chaotic boys from Jackass. You love that stuff. Don’t you dare overthink it. Turn your brain off and let the madness wash over you. Watch it on Netflix.
10. (tie) On the Count of Three (VOD)
ANNAPURNA
Jerrod Carmichael is having a moment, garnering all the praise for his revealing and powerful HBO special (Rothaniel, watch it again!), a great turn as SNL host, and now, for the release of his festival fave narrative directorial debut, On The Count Of Three. But, of course, you knew Carmichael was a force from his previous specials and The Carmichael Show. You’re just happy to see everyone else catch up and, with this film, get the chance to see Carmichael flex his dramatic muscles opposite Christopher Abbott as two friends trying to get the most out of the last moments before they execute each other as a part of a suicide pact. Track it down on your VOD service of choice.
No one knows who really asked for this reboot starring Andy Garcia in Steve Martin’s shoes. Does this movie somehow involved literal shoes, as in the first movie? You’ll need to tune in and find out as Garcia’s character yanks everyone’s chain like he’s the real Bridezilla. If anyone can get him under control, it’s Gloria Estefan’s matriarch, and this is good, wholesome fun, people. Watch it on HBO Max.
Look elsewhere for a meditative self-exploration of a comic inching toward the end of his life. Norm Macdonald just wants to tell jokes, delivering a very Norm set in a very non-Norm setting (recorded at home with no audience due to COVID) with urgency. David Letterman puts it perfectly in the loose conversation that follows with him, Conan O’Brien, Dave Chappelle, Adam Sandler, Molly Shannon, and David Spade, saying it’s not stand up, but something different. But it’s still something worth seeing for Norm’s swan song and also the aforementioned conversation, which brings a level of closure to fans who get to hear a few great Norm stories and some thoughts on what made him so unique. Watch it on Netflix.
Ambulance has everything you could want in an action movie: frenetic pacing, adrenaline-soaked chase scenes, Michael Bay doing everything at once, hot explosive nonsense, Jake Gyllenhaal as a villainous psychopath with crazy eyes, an ambulance, etc. It’s basically perfect, if this is the type of thing you’re looking for, which you probably are on a Friday or Saturday night. Make some popcorn or order a pizza and get in there. Watch it on Peacock.
Friends and colleagues of the late comedian and Full House star get together for one last tribute, this one probably full of sweet memories and filthy jokes. Which feels right. Watch it on Netflix.
Everybody clap your hands for Cha Cha Real Smooth, the second feature from writer and director Cooper Raiff. He also stars in the comedy-drama as a recent college graduate with an aimless life until he finds a job (bar/bat mitzvah “party starter”) and friends (a suburban mom played by Dakota Johnson and her autistic teenage daughter). It sounds like Indie Movie Trope Overload, but Cha Cha Real Smooth is a real charmer, with a heartfelt performance from Johnson. Watch it on Apple TV Plus.
Bowen Yang may be the best talent to emerge from Saturday Night Live in years – a fact underscored by the recent departure of comedy greats like Kate McKinnon and Aidy Bryant – but he’s not the only reason this sweet and silly gay romcom works. A BIG reason, sure, but not the only one. There’s also Margaret Cho playing a loopy lesbian house mom, a setting that allows a group of Queer misfits to find a sense of belonging amidst MDMA hazes and pulse-pounding raves, and a central love story that borrows from the period romance wellspring of one Jane Austen. It’s a booze-infused Pride & Prejudice in short swim trunks for the gays and the theys, but the fact that it works so damn well is also proof that the romcom genre should be welcoming more Queer and minority romantic leads into its ranks. Watch it on Hulu.
Adam Sandler plays a scout for the Philadelphia 76ers who discovers a raw but promising player in Spain. Hijinks ensue. Kind of. It’s more of a dramedy than, say, Jack & Jill, but it’s still Sandler doing his thing. Basketball fans will no doubt be just as interested in the action as they will be picking out all the cameos by NBA stars. It looks like a good time. Watch it on Netflix.
3. Jerry and Marge Go Large (Paramount Plus)
PARAMOUNT PLUS
Bryan Cranston and Annette Bening play a married couple who discover a loophole in the state lottery and use it to win millions and millions of dollars. There should be more movies like this. Hundreds of them, probably. But this is a good start. Watch it on Paramount Plus.
Kevin Hart, Woody Harrelson, and Kaley Cuoco team up for a comedy about mistaken identity and assassins and probably a few other things, but mostly those. The fuller description looks like this: A loser from Pennsylvania wakes up on vacation and is somehow assumed to be a world-famous contract killer. Hijinks, presumably, ensue. Watch it on Netflix.
1. Beavis and Butt-Head Do The Universe (Paramount Plus)
PARAMOUNT
Beavis and Butt-head debuted on MTV something like 30 years ago and is still, somehow, against truly staggering odds, still going strong, with this movie sending them to the cosmos and other projects in the works down the line, too. It’s good news, to be sure, but please do imagine telling someone from like 1997 that these two would still be around in 2022 and would be going to space. It would be almost as shocking as the thing where time travel was apparently invented. Watch it on Paramount Plus.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
What we have here is an alternate history situation, one where the space race of the 1960s didn’t end, thanks in large part to Russia beating America to a handful of important achievements. The show is now in season three, so there’s plenty for you to dive into if you want, which you probably should, in part due to a bunch of space cowboys doing cool space cowboy things, and in part because all your television-obsessed friends won’t stop talking about it. Win-win. Watch it on Apple TV Plus.
Remember American Vandal? Man, it would be great if you did. That show was incredible, both in its zeitgeist-capturing first season and in its less-viral second season. Go back and watch both of them again some time. You deserve it. Or, maybe, watch Players, the new series from the American Vandal team that was scooped up by Paramount. This one focuses on gamers and gaming and esports and the teams and competitions that have turned into big-money enterprises. You deserve this, too. Watch it on Paramount Plus.
The notorious Jeffs are getting it done, first with Jeff Daniels portraying a complicated lawman in Showtime’s American Rust and now with Jeff Bridges portraying an ex-CIA operative (Dan Chase, what a name) who’s forced into (wait for it) one last job in this adaptation of Thomas Perry’s bestselling thriller novel. John Lithgow plays the impetus, a government agent, who’s really pissing off Bridges’ character, and it’s on. All of Dan’s skills are back, so watch out, naysayers. Watch it on FX/Hulu.
This show brings us the perfect actress, Iman Vallani, for the leading gig of portraying Kamala Khan. She takes us on a fun-filled revamp of her character’s comic character, and this show is a roaring ball of glee that will help to set up The Marvels, which will not only include Kamala and Carol but also Monica Rambeau (Teyonah Paris) from WandaVision. The MCU’s lightening up again, and we love to see it. Watch it on Disney Plus.
Jeremy Allen White can’t leave Chicago, it seems. The Shameless actor’s now portraying a too-intense, former fine-dining chef who ends up back home and attempting to helm a sandwich shop for his family. There’s an emotional reason for this, and the actual realities of running this business turn into a cluster. In the midst of it all, there’s a sense of humanity in how this show portrays relationships, while White’s character (Carmy) transforms his own sense of self and learns to find a second family. Watch it on Hulu.
One of the biggest problems with television these days is that there are not enough shows that star Maya Rudolph. That’s why it is nice to have Loot, an Apple series that stars Rudolph as a billionaire who learns how the rest of the world lives. It’s a good start. Maya Rudolph is the best. Watch it on Apple TV Plus.
By order of the Peaky fookin’ Blinders, we demand you watch the final season of Netflix’s historical crime drama. Why? Because Cillian Murphy has never been better. Because we’re building up to a second World War. Because there are Fascists with tiny mustaches and Prohibition’s over and familial blood feuds are wreaking havoc across two continents and gypsy curses are being broken and Tom Hardy is back (doing his unintelligible mumbling thing while writing an original opera) and … well, you get it right? Watch it on Netflix.
5. The Terminal List (Amazon Prime)
The cast on this one is impressive enough: Chris Pratt, Taylor Kitsch, Constance Wu, etc. Then you add in a big-time Amazon budget and an interesting premise like “an entire team of Navy SEALs gets ambushed and the lone survivor returns home to discover various dark/evil forces working against him,” and yeah, that’s at least enough to get people curious. There’s a lot going on out there and a lot of noise to cut through but this just might do it. Watch it on Amazon Prime.
The robots are back. Kind of. Maybe. HBO’s always mindbending Wild West robotic uprising show is back, once again, after a long break. You might want to dig back through previous seasons before diving in again, though. Or at least scan through some summaries. The show is a lot, for good and occasionally messy, but it always delivers on its promise of robot-human violence, which has to count for something. Watch it on HBO Max.
It’s a sublime return for the misfit superhero family. As they are crushed to learn, the Sparrow Academy now aims to be front and center, and the O.G. Hargreeves siblings must adjust to this strange new timeline where their common Bad Dad Reginald’s other kiddos exist. Oh, and there’s another rift in the universe, which actually leads Elliot Page’s Viktor to unite with a character who acted fully like an enemy last season. Gerard Way’s comic book series keeps on giving good adaptation, and hopefully, there will be more dancing to go with yet another apocalypse. Watch it on Netflix.
Finally, The Boys. Are. Back. And so is Homelander, although he is most decidedly not okay after the events of the Season 2 finale, so plenty more increasingly sadistic behavior will soon arrive on that end. He’s got competition in the “hero of heroes” department, though, because Jensen Ackles climbs aboard as Soldier Boy (a profane Captain America knockoff), who’s definitely all up in the “Herogasm” episode, which you should sit down before watching. And expect the show to actually transcend those exploding heads, the whale collision, and Homelander’s self-pleasuring scene atop a skyscraper. In other words, clear you calendar for these weekly decadent delights. Watch it on Amazon Prime.
The second chunk of the fourth season of Stranger Things doesn’t have the same hefty episode count as the first but it is still, in a word, epic. And that’s not because of its cinematic runtimes. Well, not entirely. It is partially due to the cinematic runtimes. But all those minutes are packed with all of the 80s nostalgia, Dungeons and Dragons references, demonic possessions, prison breaks, rink parties, and secret government experiments you could ask for. Who knows what song from the 1980s it will rocket to the top of the charts next. But, no matter what takes place (or who doesn’t make it out alive?), the joy of this season is watching the rest of these weirdos and misfits band together to save each other … and themselves. Watch it on Netflix.
In the lead-up to 2019’s Avengers: Endgame, which feels like centuries ago thanks to the pandemic, an unusual fan theory went viral after suggesting a pretty gross method for how Paul Rudd’s Ant-Man could easily dispense with Josh Brolin’s Thanos. That method: Crawling up the purple alien’s butt and then transforming into Giant-Man. It was a whole thing that Rudd, Brolin, and even Endgame directors Joe and Anthony Russo had to respond to at the time. (Everybody had fun.)
However, the Thanos butt theory has never been addressed by the MCU characters until now, and boy, did Marvel pick an interesting venue to rehash the viral moment. According to a new video, Rudd’s Ant-Man addresses the butt theory as part of the Avengers: Quantum Encounter interactive film for the Disney Wish cruise that launches in July. While standing next to Evangeline Lilly’s Wasp, who’s also present for the star-studded feature, Ant-Man plunges into the rectal theory right out of the gate.
‘Avengers: Quantum Encounter’ will be part of the Disney Wish cruise sailing from this July and some of it is available to watch! …And yes Scott Lang knows about how we all wanted him to kill Thanos…
ANT-MAN: Look, before we start, let me address the elephant in the room. I know a lot of chatter out there asking why I didn’t shrink down, go in and uh [makes exploding motion with hands] kill Thanos in a really creative way. First of all, gross. Secondly, it’s much more complicated than that. Allow me to explain–
WASP: If only we had the time!
In Ant-Man’s defense it is pretty complicated. As Rudd explained back when the theory went viral, “Thanos could take a lot of punishment,” so there’s no guarantee that Ant-Man wouldn’t just crush himself and die a horrible death. Brolin also weighed in by suggesting that the Mad Titan would simply poop the tiny Avenger out. So, again, highly complicated stuff involving complex science.
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