Category: Viral

There are few things more comforting than seeing a baby with their comfort object—a blankie, a stuffed animal or a favorite toy. Or, in the case of Baby Violet, a creepy demon doll that looks baby Shrek possessed by Beelzebub.

TikTok creator Brittany Christiana (@brittikitty) shared a video of her older daughter Lily in a Halloween store, holding the demon baby and asking if she could get it for “Baby Violet.” Her mom doesn’t even hesitate, responding, “Of course!”

Then we get a closer-up look at the creature, and phew, it’s really something to behold. Not only is it demonic-looking but it’s huge—about the size of Baby Violet herself.

If you’re wondering if such a gift might be met with fearful tears or at least some slight hesitancy, nope. Watch how Baby Violet reacts when she’s handed the demon child:

@brittikitty

Lily is so thoughtful 😂😂

Adorable, right? People in the comments loved her joyful reaction.

“It’s like the Addams Family 😂,” wrote one commenter.

“They’re definitely gonna have the best spooky costumes growing up,” wrote another.

Followers already knew of Lily’s love for Halloween, and seeing Violet share her sister’s joy was a relief. A big sister who loves horror combined with a little sister who hates it could create some problematic childhood memories.

Some people shared their or their kids’ comfort items that others would find unusual (or terrifying).

“When I was like 5 I had this rubber sewer rat from Halloween and I kept it and slept with it til I was 10 and then my mom hid it from me,” shared one person.

“My daughter’s favorite toy is an old Halloween skeleton she calls “guy.” Over time, he has lost his limbs so now guy is just a skull and torso,” shared another.

Lily and Violet’s love for the demon baby is reminiscent of Creepy Chloe, the Halloween doll that won 3-year-old Briar’s heart at the Spirit Halloween store. Briar loved Chloe so much she took her everywhere and even had a photoshoot done with her at Disneyland.

You just never know what kids are going to love or hate. One thing’s for sure, though—no scary monster stands a chance against Lily and Violet.

There’s one thing you can say about little kids that’s pretty consistent no matter who the kid is, and it’s that they’re brutally honest. Whether you have something stuck in your teeth or you’ve gained weight, a small child will inform you – loudly, and usually in front of others. But one preschooler’s moment of honesty is going viral for how relatable it is.

An exhausted and cranky 4-year-old named Jude has had enough. The little boy had just gotten home from school when he must’ve been asked something before the camera started rolling because his response was a #same moment.

“Listen. No, do you hear me? I’m cranky, I’m tired, I worked hard at school,” Jude says to his dad.

Jude’s mom, Amber Tinker uploaded the video to TikTok where it went viral with over 14 million views and over 1.5 million likes. The tiny grumpy human was clearly not interested in whatever shenanigans his dad was up to and he let him know it.

Jude’s dad, Justin Tinker was attempting to tease the boy about messing with him later but Jude was having none of it. The preschooler quickly repeated that he was cranky and tired after working hard at school. He mumbles something as he walks towards a barn when his dad stops him.

“I’ve already got everything fed and watered. I already got the eggs, I did your job cause I knew you was tired,” Justin calls out.

Though his dad did his chores for him, Jude still didn’t feel like he got his point across because later in the video he repeats how cranky and tired he is. Both of his parents explained they also worked hard today and were tired but it was obvious that Jude out tired them all. In the end he declared he was getting a bath tonight. Maybe his mom will bring him a cold Capri Sun and light some candles while he soaks in a bubble bath. Preschool must be rough these days.

Watch the whole video below:

@judemywildchild

This boy has had enough! #HeyJude #Cranky #Tired #kidsoftiktok #Funny #Viral

Bad Bunny is hosting Saturday Night Live this weekend, in support of his new album, and it seems he’s already getting in on the laughs. In a new promo video on social media, it pokes fun at a wrestling format as an announcer (played by James Austin Johnson) greets Bad Bunny as his “normal” self Benito.

“How we feeling, Benito? Nervous?” Johnson asks.

“Hell no,” he responds.

Then, he is interrupted by none other than himself, as the Bad Bunny image. “Shut up, dummy,” his alter ego says. “I’m here.” He walks into the room wearing dark sunglasses and a wrestling belt slung over his shoulder.

“I’ve got a weekend update for you, amigo,” Bad Bunny tells his normal Benito counterpart. “You suck… You put the ‘L’ in SNL.”

“Please turn on my subtitles,” Benito tells the crew, before speaking in Spanish. “Thank you, because this idiot doesn’t know how to read… I’m gonna break your face, asshole!”

Benito and Bad Bunny exchange jabs at each other, similar to the roasts that happen on a regular wrestling night. At the end, the two stand face-to-face for a staredown, as Johnson encourages viewers to tune in this weekend.

Check out the promotional teaser for Bad Bunny’s SNL hosting gig below.

Following the disbandment of hip-hop collective Brockhampton last year, Kevin Abstract is gearing up to release his new album, Bleach. Last week, Abstract dropped a trailer for the album in the form of a short film called Gum. Today (October 18), Abstract has shared a new song, “What Should I Do?”

On “What Should I Do?,” Abstract rap-sings over a breezy, guitar instrumental, recalling the feelings of a budding queer love.

“I’m floatin’ through space, in the darkness I see your face between / You and me, my friend, my partner, my spot in the shade / We’ll drive around this town, pretendin’ like we got it made / Then let’s stay up all night, long ’til tomorrow turns to today,” sings Abstract on one of the song’s verses, before later asking, “What should I do to get my mind off of you?”

“What Should I Do?” is accompanied by another short film called Slip N Slide. In the clip, a young boy slides down a rainbow slip-n-slide, which leads him through a city, a forest, and ultimately, to a bleak, empty room.

You can listen to “What Should I Do” and see the Slip N Slide short film above.

Blanket is out 11/3 via RCA. Find more information here.

It’s a good time to be a fan of the Cleveland Cavaliers. Despite the fact that the team’s postseason run ended with a whimper, Cleveland had an excellent regular season last year, as the team won 51 games and secured the 4-seed in the Eastern Conference. Built around one of the best 4-man groupings in the league and spearheaded by a legitimate superstar in Donovan Mitchell, the Cavs can (and should) feel like they can go blow for blow with just about anyone in the NBA.

And yet, last year’s postseason defeat was humiliating — this quote sums things up well. Learning how to turn regular season success into postseason success is a normal step for young teams, and as we move closer and closer to the start of the 2023-24 campaign, Cleveland is in a position where they can show that they’re ready to take that next step.

Biggest Question: Can They Balance Enough Shooting With An Elite Defense?

The Cavaliers seemed to take joy out of being an absolute chore to play against last season. No team played at a slower pace. No team had a better defensive rating. They were better than anyone else at preventing teams from attempting shots from behind the three-point line. They were very good at defending around the rim. While their offense was not perfect, it was ninth in the league in offensive rating, spearheaded by a pair of guards in Donovan Mitchell and Darius Garland who are capable of making magic happen.

And then, they ran into the Knicks. Despite winning 51 games — their most in a season without LeBron James on the roster in 30 years — Cleveland got repeatedly punked by New York in their limp, five-game defeat in the first round. Their defense generally held up outside of a quite frankly shocking inability to grab defensive rebounds, but the biggest problem was their offense, which had the worst offensive rating in the postseason. They struggled mightily from three (32.7 percent) and turned the ball over more than anyone (15.8 turnovers per game).

Their bet appears to be that more floor spacing will add a bit of variety into their offense and give defenses something to keep them honest while Garland, Mitchell, and Evan Mobley all go to work. The team brought in Max Strus and Georges Niang this offseason, both of whom are elite shooters who are eager to let it fly and should be really nice fits in the starting lineup (Strus) or off the bench (Niang). It’d be wise to lean on them heavily to juice the offense, and while neither are horrible defenders — both guys compete on that end of the floor — a guy like Isaac Okoro is more stout on that end of the floor. Maybe it’s possible that Mobley and Jarrett Allen (when he is healthy) are just going to be a top-5 defense no matter what, and if the shooting they brought in can give their offense a boost from “very good” to “elite,” Cleveland is going to win a ton of games.

X-Factor: Another Step Forward For Evan Mobley

The most optimistic Evan Mobley fans believe he’s a face of the franchise type of player. Even those who aren’t quite that high believe he has the potential to be an All-Star, and with good reason — he’s only 22 and he is already one of the most singularly destructive defensive players in all of basketball. His offense is still a work in progress, but if he’s building on top of his floor, he’s a guy who has averaged 15.6 points on 53.3 percent shooting from the field in his NBA career. If that dude is your third-best player, you’re in a very good spot.

The thing that makes Mobley so interesting is that he has the talent to be much more than a third-best player on a team as good as the Cavaliers. His jumper is a work in progress, but it doesn’t look irreparably broken or anything. He flashes the ability to put the ball on the deck and create. Allen’s injury to start the year could end up forcing Mobley to play more center — which is probably his long-term position in the league — and could theoretically be the sort of thing that results in growing pains but is a long-term positive.

Mobley made his playoff debut and was, to put it bluntly, embarrassed. The Knicks shoved him around and completely minimized his impact, as he went for 9.8 points, 10 rebounds, two assists, 1.2 blocks, and 0.6 steals in 37.6 minutes per game. He shot 47.8 percent from the field and missed the only three he took over five games. I’m a big believer in his talent, and we’ll see if last postseason was a wake-up call for him at all the things he has to do to become great. If he can, the Cavs are going to be a handful during the regular season.

It’s no secret that Taylor Swift is a pop-culture tsunami, washing over everything that she touches. When she recently appeared at a NFL game touting a massive entourage that notably included Ryan Reynolds, Hugh Jackman, and Deadpool 3 director Shawn Levy, the rumor mill kicked into high gear with hopes that Swift would cameo in the film as Dazzler. In the X-Men comics, Dazzler is a mutant pop singer with the ability to convert sound into light and energy, and Taylor Swift is a pop singer with the ability to convert fans into mass hysteria, so this should be a no-brainer.

The calls for Swift to appear in Deadpool 3 were so strong that Levy couldn’t escape the subject during a new interview with The Wrap. His answer was notably coy:

“They sure are loud,” Levy said of Swift fans clamoring for her to play the musical mutant. “I’m going across the board. ‘No comment’ because that’s a double whammy. That’s Taylor-related. And it’s MCU-related. I’m no dummy. You’re going to have to wait and see.”

If all of this sounds familiar, that’s because Swift’s history of being dream-cast as Dazzler goes back nearly a decade to X-Men: Apocalypse. Thanks to her well-documented friendship with Game of Thrones star Sophie Turner, Swift visited the set of the film, which naturally, kicked the Dazzler rumors into overdrive. While Swift doesn’t appear in the film, Turner’s Jean Grey and Tye Sheridan’s Cyclops do visit a record store where they find a Dazzler album. There was speculation that Swift posed for the cover, but a source squashed that rumor.

The Swift as Dazzler rumors briefly fired up again for the next X-Men film, Dark Phoenix, which did include Dazzler’s live-action debut. However, the role was played by The Orville star Halston Sage.

Could Deadpool 3 make the Taylor Swift as Dazzler fancast a reality? The chances are pretty high. For starters, Ryan Reynolds is some sort of powerful genie who already brought Hugh Jackman back as Wolverine. The guy is pulling all kinds of rabbits out of a hat. Deadpool 3 will also dabble in the Multiverse, which makes a Swift cameo even easier. She can simply play Dazzler from an alternate reality, freeing Marvel to cast another actress down the road.

Although, maybe Swift wants to be the official pop star of the MCU? Surely, Kevin Feige wouldn’t say no to that.

(Via The Wrap)

When on the field, Colts rookie quarterback Anthony Richardson had been having one of the best starts to the 2023 season of any of the NFL’s first year starters this season, completing 60 percent of his throws for 577 yards, three touchdowns, and one interception, while rushing for four more touchdowns.

Unfortunately, Richardson has also only completed two of his four starts for the Colts, as big hits have knocked him out of games twice, first with a concussion and later with a shoulder injury. That shoulder injury kept him out of last week’s game against the Jaguars, and over the weekend there were rumblings the Colts and Richardson were considering season-ending surgery. On Wednesday, the team confirmed that was the path they would be taking with Richardson, with Colts owner Jim Irsay citing the desire to fix the injury completely so he can start fresh next year and not have anything linger.

The Colts have seen how injuries can pile up on a young star QB and lead to long-term issues, as Andrew Luck dealt with shoulder issues and more in his tenure in Indianapolis, ultimately retiring at just 29 years old. It seems they’ve learned from what Luck’s health problems caused in part by trying to play through injuries, and they will try to be more patient with Richardson and get him fully healed up before putting him back on the field. In the meantime, Gardner Minshew will continue starting games for the 3-3 Colts, and as part of Richardson’s recovery process, one would think there will be plenty of conversations with the young QB about limiting the number of big hits he takes when he uses his legs.

During a recent episode of Ozzy Osbourne‘s Osbournes Podcast, he had an interesting confession about something he used to do while he was performing. Granted, it’s probably a long list, but this one has to do with, well, the rock star willingly wetting himself.

“When I was onstage, I used to go, ‘Oh, fuck it,’ and just piss, ’cause I was wet anyway from throwing water around,” Ozzy said.

“Thanks for sharing,” his wife, Sharon, jokingly responded.

The reveal came after Ozzy, Sharon, and their kids Jack and Kelly were having a conversation about unique and strange things that have been sold at auctions — one of which was Queen Victoria’s underwear. Sharon also owned an old pair of Marilyn Monroe’s shoes, according to NME.

“Hang on a second, so it’s weird to have the Queen’s underwear, but you can have Marilyn Monroe’s shoes?” Jack asked.

“Shoes, a handbag, a dress is different than somebody’s bloody knickers that they farted in and sh*t in,” Sharon responded to her son.

Then, Ozzy joked, “[Queen Victoria] was an old girl, she was probably incontinent. She owned continents, but she was incontinent.”

Check out Ozzy Osbourne’s stage piss routine, and the recent episode in full, above.

Adele is no longer drinking wine. Or any kind of alcohol.

During a recent show as part of her Las Vegas residency, Adele revealed, “I stopped drinking quite a long time ago… maybe, like, three and a half months ago. It’s boring. I mean, oh my God, it’s boring. I was literally borderline alcoholic for quite a lot of my 20s, but I miss it so much. I cut out caffeine.” She was talking to two concertgoers who were enjoying “a pint” of whiskey sour. “I’m very, very jealous,” she added, according to Page Six.

The “Easy on Me” singer previously addressed her drinking habits during another Vegas show. “I remember when I came here in COVID, in lockdown. It was 11 a.m., and I was definitely, like, four bottles of wine in — like we all were,” she said. “I said in 2020 that I wanted to put my album out. And we were all at home just drunk basically.” Adele also cut one drinking as part of her weight loss journey. “That’s one great way of really sort of getting to know yourself, is just drinking water and being sober as anything,” she said.

You can watch footage from the recent Vegas concert below:

Reggaeton has been one of the biggest genres in music globally for 20 years. In truth, there probably should have been a reggaeton-focused television series ages ago, but Netflix’s Neon fills the gap admirably. It’s a comedy-drama about the music industry in the vein of shows like Atlanta, Dave, or Rap Sh!t — or maybe even a less testosterone-fueled, more music-focused version of Entourage or How To Make It In America. Conceived by New York Times best-selling author Shea Serrano and showrunner Max Searle, Neon follows the exploits of Santi, who moves from small-town Florida to Miami with his two best friends/managers in tow, hoping to capitalize on a viral hit.

Naturally, he runs afoul of the usual pitfalls of the music industry, from disinterested power players to the travails of simply funding his independent operation. He’s got a few contacts and many of reggaeton’s established stars in his corner, though, and the determination to push through the adversity he faces in his pursuit of stardom. The show is a reliably funny, often poignant look at the journey to make it in the modern recording industry that remains grounded in reality even as Santi racks up unlikely wins. After all, every success story starts with the odds stacked against the protagonist, and Santi — played by Tyler Dean Flores of Falcon And The Winter Soldier and Miguel Wants To Fight — is exactly the kind of kid you want to see win.

What struck me most throughout my binge — all eight episodes are out this week, October 19 — was how authentic and true to the music and culture of reggaeton Neon strives to be. Much of that can be credited to the original music created for the series by executive music producers Tainy & One Six (Lex Borrero and Ivan Rodriguez), who made efforts to make songs that not only enhanced the story of the show but could also live in the real world as legitimate reggaeton hits. It helps that Daddy Yankee is also a producer on the show and makes a cameo — as do other Latin music stars like Jon Z, Jota Rosa, LYANNO, and more.

Ivan Rodriguez of One Six graciously agreed to a Zoom interview with Uproxx to reveal more of the process behind creating music for the show that could stand on its own, the global impact reggaeton has had, Flores’ commitment to getting the character just right, and faking it ’til you make it.

What was it about this project that was so attractive that it just had to live in this format?

I think the most important thing about this project was that we’ve seen culture really lend a lot of love and support to the creators, in the same way that we create from our point of view, as Latinos. We love the idea of representation and we love the idea that we’re creating music that really represents us and our storytelling. The moment that Scooter’s team brought this to us and we sat down and really got into the characters and what the story was about. It was a no-brainer, because it was really telling the story of a lot of us, whether we’re upcoming artists, producers, songwriters, people that are trying to make their dreams happen. As Latinos, we really connect to that story. We live that story in real life.

It really did feel authentic to my own personal experiences with the musical industry, especially in terms of people inflating their own importance, or trying to make it seem like they’re bigger than they are. How close is that to your real-life experience, or do you have any examples of things where you had to go in the back door or fake it until you made it?

That’s one of the beautiful things about this show. When you break down some of those “fake it ’til you make it” elements of it, they’re all so real. Driving up in the car that you’re sleeping in, you’re driving up to the meeting, and then you put on your best clothes. Everybody’s faking it until you make it, even the person on the other side of the boardroom. This show really brings to life the “fake it ’til you make it” element of artists, but in a beautiful way that they’re believing in their vision, and that they have their friends. It’s like, “My friends are the manager and the creative director, and they just believe in me and we believe in each other, and really we’re all faking it, but we really want to make it.”

One of the things that has always fascinated me about movies and television shows that try to take on music and the musical industry, is that a lot of times the music itself is not necessarily authentic to what we would be hearing in the real world. How did you go around making sure that the music itself was something that can conceivably live outside of the show, and just be like a song that you would hear on the radio?

I think we started off the right path, because sometimes these projects and these shows get done, and for whatever reason they don’t bring the right people into them. I really do this, and Tainy really does shift the music in Latin as far as the sound of reggaeton, and where that sound lives. All the little details that make the music connect with people. He really does this for all the biggest artists in the world. Bad Bunny, Jay Bobbin, Rauw Alejandro, Selena Gomez, et cetera. So him being part of this project really allowed for the music to really be super credible, and sound as good as everything else, but also with the understanding that these songs weren’t some songs that were on a hard drive somewhere or that were just created without thinking about it twice.

We were really doing character-building with these songs. So yes, when you hear them at first listen, you’re like, “This is a banger. This feels good. This is exactly what I thought it would be.” But when you get into the lyrics and you get into the small details of what he’s saying, his delivery, even being a Latin person living in the United States, we lean into the accent not being all the way from a Latin country. Being from a guy that lives in Fort Myers, how he would sound, how would his accent be in Spanish? And I think that really shows if you’re paying attention to both the show and the music at the same time. Then you’re like, “Wow, they really went out of their way to make that really vivid through the music and really connect.”

Tyler Dean Flores is an incredible performer. He really brought the character of Santi to life. What was it like working with him on stuff like performance, and how much coaching did he need to be a real reggaeton star?

I love Tyler. He’s my friend now, and that’s amazing to be able to connect with him. When he came into the studio, it was just great because he was also getting into that character mode in his mind of everything that the character brings to the table and who he is. So as we were creating the music, it wasn’t just about the performance, but also picking his brain. If we were doing a song for this particular scene or this particular feeling in this part of the season, he would really break down to me how he was feeling as the character and the emotions that he’s trying to portray. By doing that, his character really informed the music.

When it came to Tyler being Santi, the character on the mic, it was really that same thing, getting in that mode, him really listening to a lot of reggaeton music already, but doubling down on that and kind of becoming an artist for those weeks. Really honing his craft and getting into the swagger and the delivery that it would take to get inspiration. He was listening to a lot of Rauw Alejandro. I think that was the main inspiration for the musical side of the character. It really felt like we were actually crafting an artist there for those weeks.

What do you hope people take away from the story of Neon from this first season? Hopefully, there will be more seasons. What do you sort of expect people to learn about reggaeton, about Latin culture, and what do you hope for the future of the show?

The main thing that I feel people are going to really connect to both the music and the storytelling. They’re going to see how the reggaeton genre, even though it is drums and it feels good and it’s danceable, and it also has the element of the street and youth culture, is really a way to express how Latinos feel. Reggaeton is another way that Latinos express how they feel, their lives, their dreams, their aspirations, and their ambition. I think they will really see that through the show on both the character side and also on the music, that reggaeton is beyond a genre. It’s really like a form of expression for Latinos.

Neon is streaming on Netflix