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The Original ‘Hamilton’ Cast Will Reunite For Joe Biden Fundraiser

Over the past year, the upcoming 2020 election has taken on an air of importance bordering on historical, as many came to see it as the last chance to save democracy in the United States. Therefore, it’s somewhat fitting that the Joe Biden campaign has tapped the original cast of history-making Broadway musical Hamilton for a virtual fundraiser event in an effort to preserve the functions of democracy the show depicted in their infancy.

Last seen together in the show’s original run on Broadway in 2015 when it became a massive hit and drew multiple visits from then-President Obama, Jay-Z and Beyonce, and a whos-who of celebrities, the fundraiser will reunite show creator Lin-Manuel Miranda with his Tony-winning cast. Leslie Odom, Jr., Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Christopher Jackson, Phillipa Soo, Okieriete Onaodowan, and Javier Muñoz will all appear (announcements do not list Anthony Ramos, who portrayed John Laurens and Phillip Hamilton in the original run — presumably Muñoz will take his place), while director Thomas Kail will moderate a Q&A session with them.

The Hamilton Town Hall streams live, October 16 at 9 pm ET. Access requires only a donation — no minimum amount is required — with instructions for viewing to be emailed in the donation receipt. You can find more information here.

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Adam Sandler Landed His Dramatic Role In ‘Punch Drunk Love’ Because Of Tom Cruise

What a lot of people may not realize about Hubie Halloween star Adam Sandler — while expressing surprise when he appears in the occasional dramatic role, as he did is in last year’s Safdie Brothers’ film, Uncut Gems — is that he actually graduated from New York University’s Tisch School of the Arts. That is arguably the most famous film school in America, where directors like Martin Scorsese, Oliver Stone, and the Coen Bbothers graduated, as well as actors like Mahershala Ali, Donald Glover and Phillip Seymour Hoffman, who graduated the year after Adam Sandler. Indeed, Sandler was trained as a legit actor before he was cast in Saturday Night Live, so Sandler’s dramatic roles are less of a departure than many may think.

Still, it came as a big surprise when Sandler turned in a remarkable, Oscar-worthy performance in Paul Thomas Anderson’s Punch Drunk Love, especially coming on the heels of movies like Waterboy, Happy Gilmore, and Big Daddy. Who would even get the idea of casting Robbie Hart from The Wedding Singer as the psychologically troubled lead in a prestige awards film alongside Phillip Seymour Hoffman, as well as two-time Oscar nominee Emily Watson?

What many may not know is that the role was actually written for Adam Sandler by the writer/director himself, Paul Thomas Anderson, who was connected to Adam Sandler through Tom Cruise, of all people. “I met Tom Cruise when [Cruise’s ex-wife] Nicole Kidman did SNL,” Sandler said this week on the SmartLess podcast. “Cruise had a Yankee cap dipped down low, and he looked up, and I was like in love with him,” Sandler beamed.

“Anyway,” Sandler continued, “Tom called me up, and he says, ‘I’m doing a movie with my friend Paul, and he’s interested in doing a movie with you. Can I put him on the phone?”

Sander said sure, but at the time, he only agreed because it was Tom Cruise who wanted to put them together. “Paul was very nice,” Sandler said, “and he says, ‘Hey, I loved Billy Madison.’ And I was like, ‘OK, thanks,’ but I didn’t know who he was.’”

“‘I just love your movies and your albums,’” Anderson added. “‘Is it OK if I write you a movie?’”

Sandler agreed to allow Anderson to write him a film, but he didn’t think much of it. “That’s great. You can do whatever you want, man,” Sandler said to him, dismissively. “He was sweet, and I could tell he was funny,” but Sandler really didn’t put much stock in the offer.

“But then, honest to God, it was like 11 in the morning, and I had nothing to do, and Magnolia just came out, and I said, ‘I think this is that kid’s movie. I’m going to go see that.’ It was sold out, and I was in the front row, and I was looking up at it, and I was f*cking terrified, and I was going, ‘Oh this guy is f*cking better than me. I don’t want to be in his this. I’m going to ruin his movie! Holy sh*t!”

After the movie, Sandler called up Paul Thomas Anderson and told him that he’d just seen his movie, and by that time, Sandler could hardly contain his excitement. “Are you still writing that movie for me?” he asked. A little while later, Anderson drove the script over to Sandler, left it with him to read, and when he came back, Sandler was “f*cking scared. I always said I could do this, but this was too much. But he talked me through it, and he made me comfortable.” And that is eventually how Adam Sandler’s first dramatic role came to fruition.

Meanwhile, there’s nothing public about how Paul Thomas Anderson and his wife, Maya Rudolph, met, but I like to think that they found each other through the mutual friend Adam Sandler since the two reportedly began dating a few months before the Punch Drunk Love premiere.

Source: SmartLess

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The 2020 WWE Draft Report Part 2: Monday Night Raw

This week’s episode of Monday Night Raw featured the second part of the WWE Draft, which began on Friday Night Smackdown. Although it was an hour longer, Raw had the same format as Smackdown, with Stephanie McMahon appearing at a podium in the Thunderdome to read the draft picks, which came in six rounds this time.

On Monday Night we learned that The Fiend will be on Raw, as will Alexa Bliss, so they can be together with whatever their weird bond is (tonight, for example, they simultaneously Sister-Abigailed Zelina Vega and Andrade. It was pretty cool.

Also, Sami Zayn and Kevin Owens are back on the same brand, so there’s probably a collision coming between those two old frenemies.

Here are the full lists of who was drafted to which show tonight, in order:

RAW

  1. The Fiend
  2. Randy Orton
  3. Charlotte Flair
  4. Braun Strowman
  5. Matt Riddle
  6. Jeff Hardy
  7. Retribution (Mustafa Ali, T-Bar, Mace, Slapjack… Mia Yim, who still hasn’t officially been given a new name, and probably not Mercedes Martinez, who was noticeably missing from the graphics)
  8. Keith Lee
  9. Alexa Bliss
  10. Elias
  11. Lacey Evans
  12. Sheamus
  13. Nikki Cross
  14. R-Truth
  15. Dabba-Kato
  16. Titus O’Neil
  17. Peyton Royce
  18. Akira Tozawa
  19. Lana
  20. Riddick Moss
  21. Arturo Ruas

SMACKDOWN

  1. Bayley
  2. The Street Profits (Angelo Dawkins & Montez Ford)
  3. Daniel Bryan
  4. Kevin Owens
  5. Lars Sullivan
  6. King Corbin
  7. Sami Zayn
  8. Cesaro and Shinsuke Nakamura
  9. Dolph Ziggler and Robert Roode
  10. Apollo Crews
  11. Carmella
  12. Aleister Black
  13. Natalya
  14. The Riott Squad (Liv Morgan and Ruby Riott)

As of tonight, here’s everyone who hasn’t been drafted yet:

  • Humberto Carrillo
  • Drew Gulak
  • Tucker
  • Lucha House Party
  • Murphy
  • Shorty G
  • Andrade
  • Erik (of The Viking Raiders)
  • Billie Kay
  • Tamina
  • Zelina Vega

It’s a shame that Drew Gulak, who just signed a much publicized new contract this Spring, wasn’t even drafted. That doesn’t exactly inspire hope for his future. Not to mention Zelina Vega and Andrade, who made prominent appearances in this very episode, and still weren’t drafted.

There was also the weird thing where out of the final five competitors in the Raw Women’s Championship #1 Contendership Battle Royal, only one, Lacey Evans, was drafted. But Lana, who hadn’t been drafted at that point, won the whole thing. She and the rest of the final five, Natalya, Ruby Riott, and Liv Morgan, were all drafted during the Raw Talk post-show on the WWE Network.

Here are the complete rosters of both shows as they stand after both nights of the draft:

RAW

  1. Drew McIntyre
  2. Asuka
  3. The Hurt Business (Bobby Lashley, Shelton Benjamin, Cedric Alexander, and MVP)
  4. AJ Styles
  5. Naomi
  6. Shayna Baszler and Nia Jax
  7. Ricochet
  8. Mandy Rose
  9. The Miz and John Morrison
  10. Kofi Kingston and Xavier Woods
  11. Dana Brooke
  12. Angel Garza
  13. The Fiend
  14. Randy Orton
  15. Charlotte Flair
  16. Braun Strowman
  17. Matt Riddle
  18. Jeff Hardy
  19. Retribution
  20. Keith Lee
  21. Alexa Bliss
  22. Elias
  23. Lacey Evans
  24. Sheamus
  25. Nikki Cross
  26. R-Truth
  27. Dabba-Kato
  28. Titus O’Neil
  29. Peyton Royce
  30. Akira Tozawa
  31. Lana
  32. Riddick Moss
  33. Arturo Ruas

SMACKDOWN

  1. Roman Reigns
  2. Seth Rollins
  3. Sasha Banks
  4. Bianca Belair
  5. Jey Uso
  6. Rey and Dominik Mysterio
  7. Big E
  8. Otis
  9. Bayley
  10. The Street Profits
  11. Daniel Bryan
  12. Kevin Owens
  13. Lars Sullivan
  14. King Corbin
  15. Sami Zayn
  16. Cesaro and Shinsuke Nakamura
  17. Dolph Ziggler and Robert Roode
  18. Apollo Crews
  19. Carmella
  20. Aleister Black
  21. Natalya
  22. The Riott Squad (Liv Morgan and Ruby Riott)

We’ll see what updates and changes affect these rosters over the next few days.

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All The Best New Pop Music From This Week

This week in the best new pop music saw some big-name collaborations and strong singles from up-and-comers. Bebe Rexha returned with a Doja Cat collaboration, Victoria Monet tapped Kehlani for a sultry single, and Little Mix shared a sugary-sweet tune.

Each week, Uproxx rounds up the best new pop music. Listen up.

Bebe Rexha — “Baby I’m Jealous” Feat. Doja Cat

After weeks of teasing, Bebe and Doja’s energetic “Baby I’m Jealous” single is finally here to get Uproxx’s best new pop stamp of approval. “‘Baby, I’m Jealous’ is a song I wrote about embracing my insecurities,” Bebe said about the track. “It’s about the way social media has heightened my jealousy which can affect how I feel about myself. We are constantly flooded with the highlights of other people’s lives, and at times I find myself comparing my worth and beauty to others. It’s part of the human process to experience jealousy—ultimately, this is an anthem to embrace those feelings as a form of empowerment.”

Victoria Monet — “Touch Me” Feat. Kehlani

Following the release of her shimmering album Jaguar, Victoria Monet called on Kehlani to lend a verse on her queer anthem “Touch Me.” “This song is a very personal one,” Monet said. “As artists, it’s special when we let the music document the details of real experiences and that’s what ‘Touch Me’ does. I think it’s beautiful for so many reasons and I hope people can find their own reasons with every listen.”

Little Mix — “Not A Pop Song”

Pop group Little Mix returned with another hit this week. Following their previous singles “Holiday” and “Break Up Song,” the group’s exuberant “Not A Pop Song” will be featured in their upcoming sixth studio album Confetti.

Alexander 23 — “Brainstorm”

Alexander 23 wants his fans to know that it’s okay to not be okay. Released for Global Mental Health Day, “Brainstorm” is a rolling piano anthem that aims to break the stigma surrounding mental health conversations.

Channel Tres — “Skate Depot”

Channel Tres’ “Skate Depot” arrives this week as his first single off of his upcoming I Can’t Go Outside mixtape. Offering his musings over a club-ready beat, the single is an ode to the late Skate Depot rink in Cerritos, CA. The rink was the musician’s first job, but he was let go just week weeks later for not being “good enough” at skating.

Gia Woods — “All I Know”

Gia Woods had already made a name for herself in alt-pop with a handful of singles but this week, the singer offered her debut EP Cut Season. On the project, “All I Know” stands out as a earnest reflection on finding deeper love and self acceptance after cutting out toxic friends.

Daya — “First Time”

After spending the majority of 2020 working on new music, Grammy Award-winning singer Daya is here to impress with her latest single “First Time.” Over a rhythmic beat, Daya delivers a lighthearted tune about memorable night. “‘First Time’ was a natural result of being more in touch with myself and the world around me, knowing exactly what I want and how to get there. It feels like a rebirth of self – sonically and visually – and it’s a small piece of an entire world I’m building,” Daya said about the revved-up track.

Sasha Sloan — “Hypochondriac”

Sasha Sloan continued to tease her upcoming debut album, Only Child, this week with the gentle ballad “Hypochondriac.” The fourth single released off her impending effort, the song showcases the singer’s powerhouse vocals while she sings of finally prioritizing her health now that she’s in love.

Labrinth — “No Ordinary”

After releasing an album and scoring the entirety of HBO’s hit show Euphoria, Grammy-nominated musician Labrinth returns with “No Ordinary.” Released as part of the all-new Xbox campaign, Power Your Dreams, “No Ordinary” features lulling melodies over Labrinth’s soaring voice.

Prep — “Carrie”

With “Carrie,” Prep share a final preview of their eccentric sound ahead of their debut album. “The song is pretending to be a lot happier than it is. It makes me think of someone sitting down a bit drunk at a pub piano, trying to turn all the shit they’re going through into a hazy singalong,” Prep said in a statement.

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

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Despite What The Ratings Say, The NBA Bubble Experiment Was A Huge Success

The NBA got some troubling news this week about its viewership, with TV ratings for Finals hitting historic lows. In fact, Games 2 and 3 were literally the least-watched Finals games of all time, according to Sports Media Watch. For the people whose job is to bring eyes to the product, those numbers are alarming in any context. But there’s also plenty of noise surrounding them that can be spun to fit whatever narrative you want to endorse, no matter how flimsy or politically-motivated.

Take, for example, United States Senator Ted Cruz’s recent Twitter spat with Dallas Mavericks owner Mark Cuban. Cruz wasted little time before piggybacking on an anti-Black Lives Matter sentiment and propagating the claim that the recent ratings dip is a result of the league’s emphasis on social justice.

Of course, it’s difficult to definitively prove a direct correlation between the league’s support for social justice measures and its declining viewing figures. Even though a recent Harris Poll showed that 38 percent of respondents said they stopped watching the NBA because it was becoming “too political,” it didn’t take into account that there is a major gap between the percentage of democrats who watch the NBA versus the percentage of republicans, nor did it define what was meant by “political.”

It also doesn’t account for all of the other factors that could be stealing eyes away from the playoffs, including the adjusted schedule extending deep into the fall season where it is competing with Sunday Night Football, the MLB playoffs, and a surge of cable news viewership that has been holding steady during the pandemic and election season. According to some experts, it’s difficult to try to read anything into these numbers. Via Variety:

“There is no proper context to compare the current NBA viewership post-COVID to any regular season,” says Tom McGovern, president of Omnicom Group’s sports media division Optimum Sports. “You’ve got an increased number of broadcast windows and start times that are an anomaly for this current season. The number of windows alone is going to dilute your average rating, you’ll have no West Coast prime time.”

Add to that the NBA’s ratings actually saw a spike during the restart when compared to before the shutdown, and the conclusions become even murkier. Then there’s the issue of logistics and the actual basketball product projected onto our screens. Never before has an entire NBA postseason played out in a single location without fans in attendance, and it is a starkly different viewing experience from the sheer electricity inside an NBA arena during a playoff game in front of a delirious home crowd. Players feed off that energy, and its absence looms large.

Yet, recent polls don’t clarify whether the lack of fans inside the arena in Orlando is actually a culprit in the ratings drop, although a separate poll suggests that at least some fans may question the validity of this year’s NBA title, given its unique circumstances. According to Lines.com, nearly one in five respondents (18.9 percent) said that they won’t consider this year’s NBA Finals completely valid. Of that number, less than 20 percent said it was because of social justice-related reasons, while a plurality (35.8 percent) pointed to the shortened season as its lack of validity. Of those questioning the validity, more than 27 percent said it’s because of the lack of home-court advantage, although that doesn’t tell us whether it’s caused viewers to tune out.

Given all these circumstances, the ratings dip has to be framed in its proper context: there’s simply too many factors involved to state definitively what’s behind that drop, whether it will persist into next season, and what the league and it’s TV partners must do to adapt to a changing TV viewership landscape. Viewed from an entirely different angle, the Bubble has been an astonishing feat of ingenuity. Considering the logistical challenges involved in a such a gigantic and unprecedented undertaking, there’s a million reasons why it should’ve failed, while the production folks have done an admirable job of recreating a serviceable approximation of that experience using artificial crowd noise, virtual fans, and other elements that help maintain the illusion of normalcy.

From a health and safety perspective, it’s been an unmitigated success. No one under the NBA umbrella — players, coaches, team personnel, etc. — tested positive while in the Bubble and, aside from a few breaks of protocol, things went about as smoothly as anyone could’ve hoped for. There was justified skepticism about whether any of this would work. Many feared that players would opt-out en masse because of concerns about the pandemic, or that a significant collection would stay home and fight for social justice and racial equality. Yet, when it came down to it, the vast majority decided to join their teams in Orlando, and since the games got underway back in July, the quality of the play has exceeded every expectation.

There have been thrilling highs and painful lows in the Bubble, all of which have made for captivating action. We’ve seen the Phoenix Suns’ perfect run through the seeding games; the Nuggets overcoming two straight 3-1 deficits in the playoffs; the Clippers’ stunning collapse; buzzer-beating game-winners from Devin Booker, Luka Doncic, and Anthony Davis; the Bucks’ collapse; Tyler Herro’s Billy Idol sneer; Jamal Murray’s layup package; Damian Lillard’s 40-foot bombs; an electrifying play-in game between the Blazers and the up-and-coming Grizzlies; Jimmy Butler’s ultimate vindication; LeBron James and Anthony Davis’ coronation; and about a hundred other things that would take too long to mention. In short, the NBA has been as good as ever in Orlando, and the playoffs have had no shortage of the typical intensity despite a fanless atmosphere that lacks the buzz of a postseason arena.

Back in March, the league acted swiftly in the immediate aftermath of Rudy Gobert’s positive COVID-19 test, quickly putting the season on hiatus and prompting the rest of the sports world — and, generally, the entire country — to start taking the situation more seriously. Seven months later, we have managed to crown the Lakers as the 2020 NBA champion, an outcome that was almost unimaginable in the early days of the pandemic.

The fact that they were able to pull this off without any major catastrophes along the way is remarkable in itself. Beyond that, it’s helped set the stage for what could be permanent changes to the NBA calendar going forward. It’s unlikely that we’ll see another Bubble scenario next season, as Silver and the board of governors are adamant about getting fans back in arenas once it is safe to do so, but it’s nearly impossible to see the experiment in Orlando as anything other than a major success, as it’s kept the NBA afloat during one of the darkest and most uncertain periods in league history.

To be fair, it would be irresponsible to ignore or brush aside the ratings issue, especially in a Finals series that features its biggest star in LeBron James, something that has caused Silver to raise his eyebrows. But much of the discourse surrounding also has to be taken for what it is: an effort to draw flimsy connections to undersell what the league has accomplished during the restart and point to political motivations that are difficult to quantify.

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Ethan Hawke’s Fire-Breathing Performance In ‘The Good Lord Bird’ Is One You Shouldn’t Miss

Ethan Hawke isn’t a flashy actor, for the most part. Nor is he an actor who, other than his work, attracts attention to himself. He simply, you know, works, which might be part of why (despite four Academy nominations, and being arguably robbed for another with 2018’s First Reformed) he’s never won an Oscar. He doesn’t play the awards game in a traditional sense, and in fact, he previously deconstructed the game while admitting to admiring Patti Smith for saying that she wanted every damn award and staying pretty casual on the subject himself. His almost zen approach is as interesting as watching super-successful award campaigns go down, and I have a hunch that we’ll be able to observe what he does following an Emmy nod next year.

Hawke burns so brightly that he’s incandescent in The Good Lord Bird, and it’s thrilling to see him command the small screen in a different way than he’s pulled off in cinemas. The limited series premiered on October 4, so you’re not too far behind if you missed the debut, but you really ought to catch up now. It’s a show that is best savored one episode at a time, so binging it later may not be as much of a good time.

As the fire-spewing abolitionist John Brown, Hawke delivers a showy and forceful performance that cannot be downplayed. It’s an unusually brash turn from him, after he’s played so many different vibes already, from his desk-standing moves in Dead Poets Society to a stream of slacker characters and romantic leads. Lately, his role choices have grown increasingly more diverse, including characters afflicted with inner turmoil and the occasional weirdo who shreds scenery. And then there’s a phase that I found especially interesting: The Purge and Sinister. In those horror movies, Hawke could, you know, lose his sh*t onscreen while playing two very different fatherly roles. He’s so adept at taking his audience along with them, that they, too, lose their sh*t. It’s a blast to watch people lose their sh*t and share in the communal sh*t-losing experience.

Hawke loved making those horror movies, too. As weird as it sounds, years later, I really feel like those films were a precursor to Hawke losing his sh*t in an altogether different way in The Good Lord Bird. He does so extravagantly, and like I noted already, this series is still young. I don’t want to spoil the experience for you by revealing too much. But it’s a wonderfully bizarre show. It realizes the ridiculousness of Hawke’s character, who remains a controversial figure of U.S. history, but it also celebrates his spirit. It’s a precarious balance to attempt, but the show (along with Hawke) pulls it off, somehow with humor, much like James McBride’s novel of the same name.

Showtime

We so rarely get to see Hawke let loose like this, and he’s not only a hired gun, so to speak, but he helped make this project happen. He executive produced and co-wrote the scripts, which follow the perspective of a (fictional) teenage male slave, Henry (Joshua Caleb Johnson); John picks him up in pre-Civil War Kansas while mistaking him for a girl and affectionately dubbing him as “Onion.” He bears witness to John’s ragtag army while wielding weapons and wearing cumbersome antebellum attire, which adds to the show’s absurdity. It’s Onion who considers the white-savior factor of Brown’s threadbare plans. Yet as McBride stated of his book, this is not the story of the white savior as typically presented. Instead, “it’s the African-American perspective on the white savior that comes to save us, and that’s why it’s so funny. It’s a story of caricature.”

Hawke hurls himself into that caricature, one of a man who believes that he’s truly possessed by the spirit of God, and it’s a trip.

The thing is, Brown might be a bit of a homicidal maniac who’s prone to shoot any white man who won’t renounce slavery. He’s also got very little in the way of a plan, but that’s no shocker, since we see his ultimate fate at the beginning of the Good Lord Bird. Still, it’s a rip-roaring ride to watch Brown tearing across the country, including the 1859 Army depot raid at Harpers Ferry. He’d hoped to incite an armed slave revolt, thereby sending the institution of slavery down the toilet. The raid didn’t turn out so well for him, but it did contribute to enough of a divided North and South to help spark the Civil War.

What’s also fascinating is how Hawke originally envisioned Jeff Bridges as Brown, which would have brought some Dude-like swagger for sure, but I prefer Hawke’s take. There are moments when he’s bellowing with spittle flying onto his beard, his entire body shaking. Hawke has so much fun leaning into both the insane and heroic aspects of his character, and above all, his sincerity. John fervently insisted upon fueling the cause of ending slavery, even if his showiness and enormously flawed strategy is what ultimately took him down. That Hawke can manage to treat such a serious subject with both humanity and humor is awe-inspiring. Another highlight would be Brown’s flashy interactions with Frederick Douglass (Daveed Diggs), who brings his own self-assured presence while urging John to be a careful negotiator. Douglass, too, is portrayed as dabbling in his own brand of excess. This scene reflects quite a dinner party, by the way.

Showtime

For decades, Hawke has remained one of his generation’s finest actors and achieved longevity after many of his peers (to borrow Neil Young’s lyrics) have burned out or faded away. And yes, The Good Lord Bird, on its face, might look heavy, but the truth is that it’s therapeutically funny stuff. Ethan Hawke rarely gets to provoke laughs like this except in flashes. I recall giggling at how jackass-y his Reality Bites character was, for example, and I’ve already mentioned the scenery-chewing of Stockholm, although that film didn’t receive much of a box-office run. However, Hawke being uproariously, darkly funny is available now on the small screen, and the world would be as much of a periodic fool as John Brown to pass it up.

Showtime’s ‘The Good Lord Bird’ airs on Sunday nights at 9:00pm EST.

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Trump Took A Nasty Swing At Dr. Fauci’s Competence, And People Are Not Having It

If you thought that Trump’s “ROID RAGE” and his spat with the Lincoln Project would be the height of Trump shenanigans in about one week, you were sadly mistaken. The president, while coming down from the high of shaking his butt at a Florida rally, decided to take a swing at Dr. Anthony Fauci. The timing here is particularly interesting because Fauci has been forced to invest face time in publicly requesting that Trump remove an ad that quotes him out of context (all for the purpose of making it look like Fauci praised Trump’s (botching of his) pandemic response.

Well, Trump hasn’t backed down from using Fauci’s words for his own purposes, context or not, and he also decided to shred the NIAID director while springboarding off his not-spectacular baseball pitch (hey, no one can be fantastic at everything). Trump also added several made-up claims about how “Trump was right” and saved millions of lives.

“Actually, Tony’s pitching arm is far more accurate than his prognostications,” Trump tweeted. “‘No problem, no masks’. WHO no longer likes Lockdowns – just came out against. Trump was right. We saved 2,000,000 USA lives!!!”

As of right now, he’s getting ratio-d on the comments versus retweets, which are sitting at 13,000+ and 12,500+, respectively. As one can imagine, the most-liked comments are calling out Trump for his maskless rallies and downplaying of the pandemic — all the way from the beginning to the present, including his superspreading, bombastic behavior while infected with COVID. Oh, and there’s a bone-spurs remark in there too, since Trump’s implying that Fauci isn’t a patriot.

Also, not everyone is buying that Trump came up with “prognostications” on his own. He almost undoubtedly had help here, unless the roids have increased his vocabulary.

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Sharon Van Etten’s Moving ‘Let Go’ Was Written For A Documentary About The Pepe The Frog Meme

While Sharon Van Etten’s latest album Remind Me Tomorrow came out in early 2019, the singer has remained prolific ever since its release. Most recently, Van Etten offered a cover of Nine Inch Nails’ “Hurt” to raise awareness surrounding mental health, and before that, the singer appeared on Idles leader Joe Talbot’s raucous quarantine talk show. Now, the singer shares a song she wrote for a documentary about the iconic Pepe The Frog meme.

Van Etten’s “Let Go” single features a slow-paced rise to a crashing medley of instruments. The track is leisurely and moving, not the first thing that comes to mind when thinking about the Pepe meme. But the documentary, titled Feels Good Man, isn’t as lighthearted as it may seem. Originally debuting at Sundance, Feels Good Man follows artist Matt Furie, Pepe’s creator, as he attempts to reclaim the image which had quickly morphed into a symbol of hate on 4Chan boards and concerning corners of the internet.

In a statement about writing the song for Feels Good Man, Van Etten said she wanted to create a sense of serenity after she first saw the film: “After watching the documentary, I just followed the feeling of coming to terms with something and tried to evoke peace through my melody and words. The song and film’s producer, Giorgio [Angelini], was a great collaborator and communicator and I was given a lot of freedom. That says a lot about the film and the people who made it.”

Listen to “Let Go” above.

Feels Good Man premieres 10/16 via PBS. Watch it here.

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Netflix’s Creepy Horror Show ‘The Haunting Of Bly Manor’ Has An Unlikely Connection To… Peppa Pig?

Proving that there’s a crossover between any two shows if you look hard enough (who could forget the Mad Men parody on Sesame Street?), Netflix’s The Haunting of Bly Manor has an unlikely connection to Peppa Pig.

Mike Flanagan’s horror series, currently the most-watched title on the streaming service, includes a breakout performance from nine-year-old actress Amelie Bea Smith, who plays creepy Bly Manor resident Flora. She’s also, as many viewers are just finding out, the voice of everyone’s second favorite kind British pig. (Piglet will always be number one; there is no shame in Peppa Pig finishing a respectable second.)

Bea Smith, who also had a recurring role on EastEnders, is the fourth voice artist to take on the role, following Lily Snowden-Fine, Cecily Bloom, and Harley Bird. Her first episode, “Valentine’s Day,” aired this year. As for Bly Manor, Smith isn’t allowed to watch the show, “because I think I’ll be scared. But I did have to still ask a few questions about how I should play [certain scenes] because I didn’t know much about it.” She might not watch the show, but plenty of others are, and they’re delighted by the Peppa revelation.

Parents can’t escape Peppa even when they’re watching hidden ghosts show.

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Cloud Nothings Return With The Rollicking ‘Am I Something’ To Announce A New Album

Cloud Nothings have been super productive over the past few years. After releasing new albums in 2017 (Life Without Sound) and 2018 (Last Building Burning), the band’s Dylan Baldi and Jayson Gerycz put out a free jazz album a few months ago. Now Baldi is readying yet another new album, and this time, it’s a Cloud Nothings Effort: The Shadow I Remember, which is out on February 26, 2021.

The group also released the first look at the record, “Am I Something,” a raw rocker accompanied by a psychedelic, Lu Yang-directed video. Baldi says of the visual, “I became familiar with Lu Yang’s work through her exhibit in Cleveland, Ohio at MOCA Cleveland in 2017. I was really drawn to her approach of tying religion into gender and various gendered bodily functions. The animation style of some of her work is also exactly on my wavelength -i like a psychedelic genderless Sims game. Very excited to be able to work with Lu!”

Baldi also revealed the band worked on the album with esteemed producer Steve Albini, with whom they made their 2012 album Attack On Memory, noting, “we worked with albini again on this new album. he is the best. it felt like we were all adults this time around? whereas before i was simply a baby. anyway i am prepared for 700 interview questions about it, bring it on.”

Watch the “Am I Something” video above and find the The Shadow I Remember art and tracklist below. Also revisit our 2018 interview with Baldi here.

Carpark Records

1. “Oslo”
2. “Nothing Without You”
3. “The Spirit Of”
4. “Only Light”
5. “Nara”
6. “Open Rain”
7. “Sound Of Alarm”
8. “Am I Something”
9. “It’s Love”
10. “A Longer Moon”
11. “The Room It Was”

The Shadow I Remember is out 2/26/2021 via Carpark Records. Pre-order it here.