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The Weeknd and Doja Cat’s “In Your Eyes” remix gets a trippy, animated video courtesy of director Jeron Braxton. Playing off the seedy, hedonistic themes of The Weeknd’s album After Hours, the video finds Abel’s digital avatar — complete with the bloodied nose bandage, red suit, and sunglasses that have marked the loose storyline of the album’s visual complements — roaming a psychedelic cityscape, where Doja appears as a holographic billboard character, a la Blade Runner 2049.

Throughout the video, the city’s decadent nature can be seen in its constantly-flashing advertisements for “Endless Consumption” and soda machines that dispense products such as “Cocaine” — a riff on Coca-Cola, which incidentally used to actually include the drug as one of its ingredients — and “Peyote,” which bears the familiar logo of the Pepsi Cola. There are also some not-so-references to the current political climate, with a burning police car bearing the signet “KKKPD” and leering, chain-bearing silhouettes in the back of The Weeknd’s car making pointed reference to both the prison-industrial complex and the conspicuous materialism that plays its part in feeding that particular beast.

Like The Weeknd’s music, the “In Your Eyes” video hides some dark messaging in the colorful setting, proving that the concept for After Hours works just fine in quarantine, too. Abel may not be able to shoot more companion videos for the album at the moment, but on the bright side: at least no one else is beating him up.

Watch The Weeknd’s “In Your Eyes” video featuring Doja Cat above.

Pharrell and Chad Hugo announced their reunion as The Neptunes at the top of 2020, saying they were collaborating with Jay-Z and Lil Uzi Vert. It turns out those two weren’t the only artists the pair was working with. In May, they linked up with Deadmau5 for “Pomegranate,” a sunny single that spawned from recording sessions at The Neptunes’ Criteria Recording Studios back in December. Now they have shared an animated visual for the track.

Director and animator Nick DenBoer has been working on the clip for two months, and it serves as a creative way to make a quarantine-friendly video during the pandemic. The clip opens with Deadmau5 in his tricked-out car, lining up for a street race against other animated characters. He activates “leg mode” on his car, taking his time getting off the starting line after the race began. From there, though, the ever-shifting vehicle takes to the sky outer space and beyond.

Ahead of the video, Deadmau5 and DenBoer hosted a live Q&A, in which DenBoer shared some trivia about the clip, like the fact that Hugo and Pharrell were originally going to be depicted as themselves, instead of represented by the planet Neptune.

Watch the “Pomegranate” video above.

Over the phone, actor/musician/filmmaker Aryeh-Or exudes calm. His tone is mellow and his cadence is measured. He’s mastered the sort of serene charisma that seems rare at the present, when just about everyone is feeling frantic. But Aryeh-Or’s deliberate manner belies a burning sense of urgency as he navigates his lane as an artist in our collective sociopolitical moment. Make no mistake, this is a man who is enraged about the state of things — his fury simmering just below the surface, ready to bubble up whether he’s out marching in the streets or breaking down how the system has failed Black Americans in the video for his recent song “Stand + Deliver.”

The self-directed video, released on Juneteenth, reflects something of Aryeh-Or’s mindset after weeks of joining with protesters in Los Angeles and Palmdale, California. It’s righteous anger tempered by hope. A balance of undistilled emotion and thoroughly considered action.

This dual attention to the head and the heart is, at least in part, responsible for Aryeh-Or’s wide-ranging success. Whether acting across from Leonardo DiCaprio in 2011’s J.Edgar, embodying the role of ridiculously good looking merman in Siren on FreeForm, or releasing music via his personal social media platforms, the multi-hyphenate brings a certain depth to everything he does. This was evidence when we spoke over the phone last week about his commitment to the protest movement, his deep desire to help create systemic change, and his focus on never overstating his role (and therefore taking space from day-in-and-day-out organizers).

Check our conversation below.

First of all, let’s talk about the genesis for this track — where did that come out of? Because it seems “of the moment” but obviously police violence and systemic oppression are as old as the nation itself.

I wrote this song in 2016, the week of the election with clenched fists, tears in my eyes. I expressed myself the only way that I possibly could — but trying to also be productive rather than shutting down. I wrote this song, jumped into the studio within the week, started recording it.

Ty Taylor from Vintage Trouble happened to just drop by the studio that week. We just got to talking as two black men, unpacking our emotions and he heard what I had written and just said, “Let me in the booth,” and jumped on the hook. We got almost everything done in that first session. And then I actually ran off to protest at Standing Rock. I have always been as much an activist as I am an artist — desperately wanting to have some kind of means to make a tangible, immediate change. I saw the atrocities happening at Standing Rock and raised several thousand dollars, shot up there, and stood on the front lines with the Water Protectors, as I am also of Indigenous blood.

When I got back, it was like, “all right, let’s finish this project. Let’s get it done.” We polished up the song, shot a version of the video, which we actually dropped first in 2017 for the inauguration. And then, as everything has flared up in our country, I decided to just radically retool the entire thing — knowing that it’s only become more relevant with time.

Your history, and I don’t know a ton about it, but you’ve mentioned a couple of references in previous conversations to being Indigenous, Black, and Jewish. That’s distinctly American. Do you feel like, to whatever degree, the embodiment of kind of our idealized American identity and that melting pot notion?

I do. I absolutely do. I don’t think that I could have come into existence anywhere else. In addition to my bloodline as an African American-Indigenous American-Jewish man, my parents are LGBTQ. My mother is a white Jewish bisexual. My biological father is a black trans woman and made her gender transition in my early life. So I actually don’t have any memories of my biological father living in the masculine. So on top of all the racial and religious identities, there’s that other layer. I definitely feel like a melting pot on the personal level, because I either am or am directly influenced by almost every minority demographic you can imagine.

I don’t think that there’s another country in the world, another culture in the world, where I could have come into existence with this amazing multifaceted lineage as history. And with that, I do feel deeply a part of the American experience, and I can’t extricate myself from it as an outsider. In fact, I want to fight for the idea of our country more than ever, because this is my home. This is the land that’s allowed me to learn and grow and become the powerful creator that I am. And all of the culture here, all of the experiences, the good, the bad, and the ugly have made me the man I am, and I wouldn’t trade that for anything.

In your song and on Instagram, I see this deep underpinning of hope that you have for America. I find myself very optimistic about the pathway forward to a better America that you sing about — with much reconciliation, healing, and both literal and metaphorical reparations needed along the way. And I think that’s what the song does really effectively.

I definitely try to infuse it with that underpinning of hope but we’ve also got to have safe spaces to put the anger and the pain on the table. Because if it’s not addressed, it’s suppressed. It’s all of our responsibility to let the feelings come to the surface so they can eventually be transmuted. I think about the truth and reconciliation chapter in post-apartheid South Africa. Mandela and his government created specific containers for people to come to the table and just get everything off their chests and air it out. That’s one of the logical next steps for how we have to move forward. And this piece for me is both getting it off my chest and articulating the deep pain, anger, and sadness, while also affirming that I do believe that we — as a collective people of all shades colors, shapes, and sizes — can come together to live the American dream that our country was founded upon.

I love that. I also think it’s particularly powerful that you shot a music video of people protesting the streets, because that’s very real for you — you’re very much in the streets. Can you, can you speak to that a little bit?

I’ve been in the streets since high school. I think the first protest I attended was when we decided to invade Iraq. I was laying down in the middle of Wilshire Boulevard, shutting down traffic in front of a Federal building in Westwood. One protest after the next up to Standing Rock and subsequent and subsequent and… here we are now. It’s been interesting in this time, having been on the front lines of the protest all my life, being specific with when and where I’m putting my energy in the street, and when I’m using my voice and my mind and my heart, because we’ve all got a different role to play. I haven’t been out there every day, but I will say the most powerful day, I actually went to Palmdale this past week or this past weekend actually. I was at the protest for Robert Fuller, the 24-year-old, young black man who was found hung in the city square. [Palmer’s case is currently being investigated.]

When I showed up, there were maybe a few hundred people. They didn’t have any kind of PA or amplification. And I brought a very powerful bullhorn with me. At first, I just walked straight to the center and handed the mic, so to speak, to a young man who was speaking. And then started amplifying other voices, stood up myself, and just used every gift that God has given me to speak and lead — calling cadences through the streets.

I think the most powerful moment or the two most powerful moments of that protest were — one, marching everyone up to the police in riot gear and then turning my back to hold peace. And two, after 20 minutes plus of everyone just yelling at the police and being angry, I waded to the back of the protest, stood up on a big rock, and asked everyone to turn their backs on the officers remind themselves why we were there. Because even though we’re nationally protesting police brutality, we showed up that day for Robert Fuller and our attention didn’t need to be on these officers. Our attention was on the young man who had just lost his life. I personally was done giving them my attention and we didn’t owe them any of our energy. I turned and walked away, I said, “I’m going to go back to the tree where Robert was hung and pay my respects.” We shifted the energy and everyone gathered around the tree and we knelt and prayed. I can’t tell you how emotionally powerful it is to have knelt and prayed and placed my hands on the tree where this young man lost his life. I never thought I’d have that kind of experience.

Thank you for sharing those complex emotions. I think the song does that too. Navigating the wide range of feelings — agony and frustration and fury and sadness. How does your own philosophy, just your personal philosophy and the people who are in your orbit inform your approach to all of this?

I run in a lot of different circles and I’ve always been able to flow seamlessly from one to another. Whereas some people may see some of the new American Bohemian pseudo hippie in me, I’ve also still got friends on the block. Like you will find me having completely different conversations with some real n*****, so to speak. My ideology and perspective are rooted in and informed by the fact that I am constantly shifting through different social circles and perspectives. But that larger ideology of hope and fundamental faith in humanity, I think comes deeply from my spiritual practice. Even though I was raised Jewish, I’m no longer religious, but I’m deeply spiritual and Indigenous plant medicines and ritual work have become a big part of my life.

I’ll just say it outright working with ayahuasca and other shamanic medicine works have really informed my spiritual path and helped me to see the deep truth that we are actually all part of the same God-consciousness. And that the only separations that we perceive are illusions of this 3d reality, and they are inserted into our consciousness and affirmed by the world around us to keep us divided because in division we can be controlled. Basically, I have a deep knowledge that we really are all the same.

When people hear your song, when people see your philosophy, when people see you in the streets, when people understand a little sliver of Black pain through you — what do you hope they walk away with? What is your invocation to America right now? What is the wisdom that you’re holding after creating this music and after living your life as a revolutionary? What do you want to share with people?

No one is safe until everyone is safe. And we have a fundamental responsibility to stand on a higher moral code and see ourselves in everybody and everybody in ourselves. And as much as we have to stand absolutely firm in Black Lives Matter right now, my hope and my dream and all my efforts are to get us to the point where one day we can truly say that all lives matter and actually mean it.

The NBA bubble rules may seem reasonable and safe until you’re facing them head-on. This is the reality for many players, and likely the reason the league set such a soft deadline for players to decide if they will participate in the Orlando restart. While many have broadly questioned the safety of the Wide World of Sport compound setup, DeMar DeRozan this week explained just how difficult it will be for players.

“I got through 10 lines of the handbook and just put it down because it became so frustrating and overwhelming at times, because you just never thought you’d be in a situation of something like this,” DeRozan said. “So it’s hard to process at times.”

While Dr. Anthony Fauci and others such as the epidemiologist Dr. Zachary Binney have supported the NBA’s plan relative to others, it remains risky. COVID-19 cases are skyrocketing in Florida, and it remains difficult to entirely secure the bubble when Disney workers are traveling in and out on a consistent basis.

DeRozan is a particularly well-suited spokesperson for the concerns of players for several reasons. His team, the Spurs, are on the brink of the playoff picture and will be without veteran star LaMarcus Aldridge. A team like San Antonio could question the value of even taking the plunge into the Orlando bubble in the first place. In addition, DeRozan has been a vocal advocate for players’ mental health, and even if the NBA restart stays safe from a public health standpoint, the isolated nature of the bubble will challenge players’ mental wellbeing.

“It’s tough,” DeRozan said. “You’re taking guys that have been with their families every single day for the last few months and all of sudden, separating everybody into this one confined space and taking away a lot of joyful things we do outside of basketball that we won’t be able to do. It’ll be something for every single player when it comes to mental health.”

While ESPN’s story rightly pointed out that others, especially international players like Domantas Sabonis or Giannis Antetokounmpo, are more familiar with campus environments in places like the Olympic village or at international tournaments, this is surely a unique circumstance. Most importantly, players will be without their families until the second round of the playoffs, meaning someone like DeRozan is unlikely to ever bring their family into the bubble. And while athletes are expected to remain mostly restricted to the village at the Olympics, there is no fear of what lies outside, just perhaps a slap on the wrist from the IOC.

Most players who’ve spoken publicly seem to agree this is the best contingency plan all things considered, and it’s gotten the green-light from epidemiologists and physicians, but that does not mean it will be easy for anyone.

Kehlani dropped her highly-anticipated sophomore album It Was Good Until It Wasn’t in May. Because the record was released in the middle of the pandemic lockdown, Kehlani was forced to master the art of the quarantine video. The singer shared several self-recorded videos, like “Toxic” and “Everybody’s Business.”

Kehlani got creative for her “Open (Passionate)” visual, where she rented a Ferrari and hit the open roads to shoot the video with her director from a safe distance. The production seemingly went off without a hitch, but a recent report from TMZ suggests otherwise. According to TMZ, Kehlani actually wrecked the Ferrari in a collision while shooting the video and returned afterward. Now, the singer is reportedly being sued for the $25,000 worth of damages she caused.

The report states that Kehlani rented a Ferrari from a rental car company back in April. The company claims Kehlani told them she was renting the car for personal use, only to have it appear in her “Open” video. The company is reportedly now suing the singer, saying they lost $1,000 each day the car was being repaired. TMZ’s initial report claims the company is seeking money from the singer in damages and is even pushing for Kehlani to lose her license.

It Was Good Until It Wasn’t is out now via Atlantic. Get it here.

Kehlani is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Just when you got “Toss A Coin To Your Witcher” out of your head, there’s another dark horse lurking on the horizon. Am I talking about Geralt of Rivia’s horse? Roach would never. And I’m not talking about Eurovision Song Contest‘s “Ja Ja Ding Dong” either.

“Toss A Coin” was truly a monster of our own making, in the way that a fandom can elevate an earworm to faux-legendary status in the time that it takes to binge an entire season on Netflix. It was also a song that laid an emotional groundwork between Joey Batey’s “humble bard” and the crotchety Geralt, as well as a tune that contextualized the lone monster hunter’s relationship with society. The song helped lovers of the games and books to embrace the show, which was far more enjoyable that it ever needed to be, and it stood to reason that Jaskier would return in Season 2, or else there would be complaints. Rest assured that showrunner Lauren Schmidt Hissrich has not only confirmed to TV guide that Batey would return, but that there will definitely be more Jaskier bangers coming our way. Oh boy:

“Joey’s an amazing singer. We want him to sing as often as possible. And I also think the idea of narrative is really important to The Witcher and the idea of who tells stories. So we’re absolutely going to keep doing it.”

While we’re at it, we might as well pour Joey Batey some ale as well, since he’s described the infamous tune as “pretty hellish.” Also in the above interview, Hissrich emphasizes that Jaskier and Geralt will likely “stay together for the rest of time” if the “Toss A Coin” song proves correct, so Batey had better get used to those hellish tunes. That’s (presumably) why he gets those coin tosses himself.

The Witcher is expected to resume production on August 17 for Season 2, which has been embracing a working title: “Mysterious Monsters.” Expect fewer confusing timelines and additional Witchers, including Geralt’s mentor and father figure, Vesemir, who will be portrayed by Killing Eve‘s Kim Bodnia. So… early 2021? Let’s hope.

(Via TV Guide)

The NBA is conducting a number of COVID-19 tests with the hopes of making sure that individuals who have caught the virus can isolate themselves and get healthy ahead of the upcoming bubble league in Orlando. In a previous round of testing, the first that the league has done since players began reporting to their team facilities, 16 positive tests were reported among 302 tests.

Thursday morning brought the latest word from the league on COVID testing, both among players and a number of team staffers. According to the league, nine more cases of COVID-19 have popped up following 344 tests performed on players that occurred between June 24-29. This means that, in total, 25 positive tests have been identified among players. Beyond them, the NBA performed 884 tests among team staffers with 10 positive tests.

According to a release by the league, those who have tested positive are required to “remain in self-isolation until they satisfy public health protocols for discontinuing isolation and have been cleared by a physician.” According to a memo sent out by the NBA several weeks ago, teams will begin flying down to Orlando for the bubble league starting on July 7, and it is unclear if or when those who test positive will be able to join their teams. There are, of course, still concerns about cases going unidentified prior to entering the bubble as the virus works its way through an individual’s body, as evidenced by Major League Soccer and a collection of positive tests that have occurred during their Disney bubble league among members of FC Dallas and the Columbus Crew.

Floor Is Lava is a tribute to backyard imagination, a late-era classic Community episode, and ’90s nostalgia offerings like Double Dare and Legends Of The Hidden Temple, delivering on our desperate need for fresh entertainment and our want to see someone faceplant in a low stakes competition. But what if there were higher stakes? And what if those stakes made the game more epic and aggressive?

If they get a second season (which is definitely going to happen), maybe going bigger is the play to keeping Floor Is Lava relevant. No disrespect to the show, but for sure they didn’t make it knowing they’d have to satisfy the wants of an audience forever broken by months-long quarantines and quite probably too much Netflix (and time) on their hands. It’s a new world and lucky for the producers, we’ve got a couple of writers — Jessica Toomer and Jason Tabrys — who have been broken in just that way and they’ve got ideas in how to make Floor Is Lava even better. Good ideas? Eh, let’s find out!

The Lava

Though everyone goes to great lengths to pretend that they’re actually surrounded by lava, spoiler alert, it’s not. But what if it was!? Or, at least, what if it was something other than a vat of bubbling orange duck sauce? Something a bit more dangerous?

Jason: I will start with my first idea, which is probably my best idea: what if we just call it Floor Is Guava and it’s just juice. And then maybe some of the players are allergic and they get itchy, but medics would be on hand with Benadryl or a shot.

Jess: I’m not totally convinced it’s not juice of some kind already. But yeah, it would really raise the stakes. That’s something this show needs because the farther you get along, the more you realize none of this matters, which is also life. I’m not suggesting actual lava. That would be too hard to get their hands on just from a production standpoint. I feel like it would be an upgrade even if they just made it liquid honey, so that when you fell in, it was a struggle to get out. Like, are you going to be able to get out of that and survive? That would be interesting. Just tease the possibility of death. Or maybe something that burns a little is needed, like something that stings a little. I don’t know, maybe cover their body in paper cuts and have it be like alcohol in the lava pit.

Jason: So, Floor Is Vodka. Also, Netflix absolutely has the money to create some kind of synthetic lava. And, to clarify, you want the possibility of death to actually be there for your pleasure or enjoyment as a viewer? So this is basically like a Gladiator kind of situation where you’re sitting in your fancy chair, ready to give a thumbs up or a thumbs down. Should we add a voting element where they rescue them… or they don’t?

Jess: Oh?

Jason: No. Don’t like that as much as you just did.

The Set

The themed lava rooms aim to create a sense of uniqueness from episode to episode, but what if we continued with the theme of raising the stakes and added a little more creativity to the show?

Jason: They could have gone bigger. Especially now that I know they filmed in an old IKEA. Looking at some of the shows that this is spiritually connected to — Double Dare or Guts. Those sets were immense, especially Guts. And this is not. Is that the key? I don’t know who they got to design this thing, but they need to reach out to children because adults lack imagination. They’re just putting shit there that looks cool. The thing that Rachel Dratch had to run through to escape Margot Robbie’s moment on Billy On The Street was bigger. And more impressive. And more fun. Actually, why don’t they just make that into the show? Let’s just have Rachel Dratch and Billy Eichner and that’s the show. And we have Rachel Dratch run through these crazy, ornate, super creative obstacle courses and we can have her yelling “the floor is lava all the time,” too, if they like. Billy Eichner isn’t doing his usual thing right now. He’s not doing Billy On The Street right now to avoid it turning into Billy In The ICU.

https://www.youtube.com/watch?v=ZcAhV0k_ucE

Jessica: The Air Is Corona. Here’s another thing that bothers me about this show. With the exception of a few things like the spinning bed or whatever, everything is stationary. Why aren’t things moving when you have to jump on them or hang from them? I want to see feats of athletic greatness. I don’t ever want to watch a competition show where I think I could do better than the competitors. That just pisses me off. I don’t have a lot of pride in my athletic ability, but this show, even I could jump on a couch and they just act like it’s the hardest thing in the world to do. There’s no way I could do the monkey bars on the canoe, but I could hold on to one of those hanging curtains for a quick second. Also, nothing ever gets destroyed. Let’s have some breakable shit. Most of the stuff that they’re climbing on or landing on is made from a soft, bouncy material. It’s all like squishy material that you would make toys for babies out of. I would like some sharp edges. I would like some hard surfaces. You’re watching a show because you want to see people wipe out. You want to see people eat it. I don’t want to see them land on something that’s as soft as a marshmallow. It’s not that I want to see blood, but I wouldn’t look away. I’d say, “ooh, that must have hurt.” And then I would get even more into it probably. When you’re exposed to as much violence on TV as we are as children, I think seeing someone break a nose is not going to turn them off of the show.

Jason: I believe you could see bloodshed on American Gladiator and people would fall from a great height. Everything was padded, but padded like in the nineties, so not more than like a yoga mat on concrete is what I think that was. I feel like there was more danger in Double Dare. For one thing, very slippery floors. Absolutely you could have gotten more hurt in Double Dare, Guts, or Legends Of The Hidden Temple than in Floor Is Lava.

Jess: They make some of the surfaces here slippery, but I agree, I don’t think it’s enough. Everything is so well lit, too. You know when you see them torture people on TV and they put them in a room with like the latest loud rock music and the lights are super bright and then it goes dark? Why don’t they do something like that, like sensory deprivation? Or you could get someone with a paintball gun shooting at you as you’re jumping from thing to thing. Not things that are going to kill someone, but just things that make you stay on your toes.

The Guests

A collection of cheery, friendly people take on the challenge of the game but are we missing out?

Jason: What does it say about me that I often find myself rooting for the lava? I can’t handle seeing someone say that they practice stand-up yoga on a paddleboard in the middle of the ocean before going out there. And then I have to root for them? I’m not programmed to do that. She just drops that detail like it’s nothing. If, instead of these amazing people, it was bad people… not bad people. I’m not suggesting we align this with the penal system and have murderers play. I’m not suggesting Running Man. But unsympathetic people.

Jess: People that we canceled on Twitter, like YouTubers or a politician? It would have to be people that we all collectively don’t like. Let’s Black Mirror the Floor Is Lava. If you want nice, go watch Great British Bake Off. I want people to scream and yell at each other. And I almost thought that was going to happen with the trio of flight attendants, but they let me down at the end because all three made it and they were so happy. I want to see people going at each other’s throats. I’m not interested in normal average people. What about a celebrity edition? But it has to be celebrity rivals, like if you got celebrities who had a real deep rivalry like Lindsay Lohan and Hillary Duff. Oh my God. There are so many that you could put in there. You could put Paris Hilton and Nicole Richie and Lindsay Lohan and Hillary Duff, the Holy four. The four-fecta. Or Monica and Brandy. Wouldn’t you want to see Monica and Brandy try to make it through this?

The Host

Is host Ruttledge Wood right for the supercharged version of the show that we’re building?

Jason: The host — bearded guy in flannel, moderately pleasing personality. Do we upgrade?

Jess: That’s you, Jason. You’re describing yourself. Is that why don’t like this guy, because you weren’t chosen?

Jason: There’s a warehouse where we’re stored.

Jess: Like Westworld. An actual host!

Jason: I escaped. No, he’s fine. I just feel like you take a leap forward if you replace him with some kind of Muppet or some kind of talking puppet. Maybe Triumph The Insult Comic Dog makes fun of these people ceaselessly the entire time instead of being helpful or informative. I don’t need point by point explanation of the layout before the game. Just let me just see them do it. Preferably while getting insulted by a hand puppet. We’re laughing and we’re learning. It’s great.

Jess: And he could also give them like bad advice, like “jump here, go here, you should hold on to that.” Actively rooting and conspiring against them. I think we’ve done it.

Jason: Agreed. Get Billy Eichner, Rachel Dratch, Triumph The Insult Comic Dog, and a bunch of early aughts celebrity rivals and shitty people, nearly drown them in a vat of honey, let children create a bunch of crazy obstacles out of marble and broken glass utilizing every square inch of that IKEA, and then fire paintballs and insults at them. But we keep the lava lamp prize.

All week, Brie Larson had been teasing… something.

“I realized something…,” the first tweet read, followed by, “Breaking the news to the family…” What could it be? A return to her pop music career? If only. It turns out, Larson was preparing her YouTube channel, which launched on Thursday. “YouTube has been a place where I have learned so much,” the Captain Marvel star said in her introduction. “Whether it’s been how to use my printer or it’s been watching how to be a considerate activist, this is the place to talk about things that are important and that matter.” Larson also revealed some of her upcoming interviews, including comedian Lilly Singh, YouTube personality Swoozie, and Hot Ones host Sean Evans. And, in what I’m sure is a total coincidence, she appeared on the most recent episode of the spicy food series.

You can watch the whole, increasingly-red-faced video below, but the key moment is when Evans asked the Oscar winner what movie made in the last year or so will be considered a “classic” in 50 years. “I think there’s a great chance that Portrait of a Lady on Fire will be considered a classic,” she responded. To quote another movie that was robbed of an Oscar nomination, I disagree: Portrait of a Lady on Fire is already a classic.

Céline Sciamma’s romantic-drama is also available on Hulu. You should watch it, as long as you’re fine with having a song that isn’t “Ja Ja Ding Dong” stuck in your head.

Like the rest of us, New Orleans Pelicans forward and reigning No. 1 overall pick Zion Williamson sat down to watch The Last Dance in April and May while stuck at home. Williamson was asked about what he gleaned from the ESPN documentary during a virtual press conference on Thursday, and the Jordan Brand athlete couldn’t keep the smile from his face.

“You saw his true love he had for the game, his passion, and that’s why he is who he is,” Williamson said, adding that the film only reinforced the respect he’s always had for Jordan as a competitor.

“He just showed his love for the game, his drive of, he felt like if someone could do something close to as good as he could, he wanted to dominate,” Williamson said. “It’s something to look at man, that’s all I can say.”

Throughout the documentary, many of Jordan’s herculean accomplishments were rehashed, from his 63-point playoff game against Boston to the flu (or bad pizza) game against Utah in the NBA Finals. Williamson hasn’t had many such moments yet, but his competitiveness is clearly among his best qualities, and there aren’t many better athletes to study from a mindset standpoint than Jordan. Maybe it’s a good thing Williamson, with the NBA season on pause, actually had the time to watch The Last Dance like the rest of us.