Category: Viral

“We always have money for war. We never have money for the war fighter.”

Jon Stewart’s on Capitol Hill again, the week after the public learned about a 9/11 program (that he championed) being siphoned by the Trump Administration. In that regard, he spent part of 2019 emotionally ripping into members of Congress when they failed to show up for hearings about 9/11 first-responder health care. He later stood alongside first-responder advocates when the U.S. Senate voted to renew permanent authorization of September 11th Victim Compensation Fund. Now, he’s leading a renewed fight for federal benefits to help war fighters exposed to toxic burn pit fumes.

Stewart hopes to secure this aid by supporting a bill (sponsored by Sen. Kirstin Gillibrand) aimed toward U.S. troops who were exposed to toxic pits (portions of a military base that include open-air waste burning that’s accelerated by jet fuel) during the Iraq and Afghanistan wars. These vets are now suffering with conditions that include cancer, pulmonary disease, and asthma, and Stewart is angry that help hasn’t happened yet because time is of the essence. “Welcome to another exciting episode of ‘When is America going to start acting like the great country we keep telling ourselves we are?’” he declared. “Our veterans lived 24/7 next to toxic smoke… It’s bullsh*t.”

During the above news conference, Stewart made reference to his previous battle for the 9/11 compensation fund for first responders. He believes that history is now repeating itself, and he believes that Congress has the duty to remain accountable for veterans’ health, including when they responded to the 9/11 attack on behalf of the U.S.

“When it was done, we thought it was done,” Stewart continued. “But it turns out that the warfighters that were sent to prosecute the battle based on the attack on 9/11 now suffer the same injuries and illnesses that the first responders suffer from, and they’re getting the same cold shoulder from Congress that they received. And so the fight starts again.”

(Via NBC News, Now This News & The Hill)

Fried chicken is rapidly passing the cheeseburger as the icon of American fast-food culture. The Popeye’s Fried Chicken Sandwich was a full-on phenomenon — leading to the sort of insanity once reserved for celebrity sightings and streetwear drops. Which fast-food chain is growing nationwide the fastest? Love them or hate them, it’s Chick-fil-A, proof that fried chicken, whether in nugget, tender, or sandwich form, is to a new generation of fast-food eaters what the burger and fries were to the Boomers.

For the most part, we know our favorite fast-food chicken. We’ve already crowned a best chicken sandwich, a best chicken tender, and even the best chicken nugget. We felt settled on the matter. Until last week, when McDonald’s launched their Spicy Chicken McNugget along with the Travis Scott Meal. It was a move that practically demanded we put the McD’s entry to a test against our current nugget champ: Wendy’s spicy nugget.

To see which of the two entries into the fast-food chicken game is best, we’ve scored both by taste, texture, and heat on a 5-point scale. Place your bets now and let’s dive into the madness.

Wendy’s Spicy Chicken Nugget

A few years back, Wendy’s tried to eliminate its Spicy Chicken Nugget from the menu, much to the dismay of many a chicken nugget fan. After months of pestering from fans spamming the historically snarky Wendy’s Twitter account — including Chance The Rapper, with a tweet that has since received 33.9 thousand retweets, 1.1 thousand quote tweets, and 220.9 thousand likes — Wendy’s finally caved and brought back the spicy nuggets, aka, the best 99¢ you can spend at the restaurant.

Taste: 5

The spicy batter Wendy’s uses is phenomenal. It’s a mix of cayenne pepper, paprika, and big flaky pieces of black pepper — giving you a very legit opportunity to use the word “zesty.” The flavor of a single nugget can linger through a whole meal, which would be frustrating if Wendy’s nuggets didn’t taste so damn good.

Texture: 3

This is Wendy’s weak point. The batter on the spicy nuggets is thick and coarse — like if someone dipped the chicken in a mix of flour and egg, and then proceeded to roll each nugget up and down the driveway. It’s a texture so notable (and such a departure from other brands) that a person might be tempted to peel the batter from the chicken, just to investigate. Don’t do this. Underneath the batter is a piece of spongey processed chicken that looks like a naked, shivering creature of some sort.

Though the taste clearly makes up for this weakness in my rankings, I do think that if you threw a Wendy’s Spicy Nugget at somebody hard enough you could draw blood.

Heat: 4

Wendy’s real saving grace is the heat packed in each nugget. Once the flavor of cayenne and the pepper subsides, you’re left with a lingering burn that activates your tastebuds. Spice has layers and levels and certain spices linger while others seem to pass quickly — Wendy’s hits all these notes nicely.

Overall Score: 12

Mcdonald’s Spicy McNugget

Sometimes fast food brands make weird choices. Taco Bell will chop out fan favorites, In-N-Out still refuses to add bacon to their menu, and, for whatever reason, McDonald’s hasn’t brought a new flavor of McNugget to the United States since 1983, even though it doesn’t take a genius to figure out that a spicy McNugget would slap.

C’est la vie. The Spicy McNugget is here now, so let’s see how it stacks up.

Taste: 3

Hmm. Well, it’s not better than the traditional non-spiced McNugget, and from a pure flavor perspective, the mix of cayenne, and chili peppers don’t have anything over Wendy’s cayenne, paprika, and pepper-based seasoning. While McDonald’s subtle flavor makes a great pairing with sauce, the nugg eaten alone doesn’t linger in a pleasing way like the black pepper of Wendy’s nugget does.

Texture: 5

This is the Spicy McNugget’s strength. Part of what makes the Chicken McNugget so beloved is its tempura-like batter. The crispy-flaky crunch that each Spicy McNugget offers is so audibly pleasing that we’re finally starting to understand the appeal of Mukbang and ASMR.

Heat: 3

McDonald’s could’ve really had something if they’d just trusted their customers a little bit more. The truth about spicy food is that it’s not for everybody. Some people can handle the heat and some can’t. Wendy’s respects that the audience for their Spicy Nugget comes in wanting spice. McDonald’s played it safe and tried to have it both ways with a McNugget that’s only slightly spicy.

In short: it’s not spicy enough to turn any beginners off, but it leaves nothing for spice-heads to really appreciate.

Overall Score: 11

The Final Verdict

It’s going to take a little bit more than cayenne, chili pepper, and good texture to snatch the title of “Best Chicken Nugget” from Wendy’s. While the overall scores are close, Wendy’s eeks out a win thanks to their emphasis on flavor and, most importantly, heat.

In its defense, McDonald’s seems to know that their nuggets could be spicier. Along with the new McNuggets comes the release of “Mighty Hot Sauce” — a buffalo-style sauce consisting of crushed red peppers, spicy chilies, and garlic. This sauce, which is McDonald’s first new dipping sauce in three years, greatly enhances the experience of eating their Spicy McNuggets (but still not to the point that they taste better than what Wendy’s offers for a lower price).

Until McD’s spices up their actual nugget, Wendy’s keeps the championship belt.

This week in the best new pop music saw several revved-up remixes and buoyant collaborations. Major Lazer tapped Nicki Minaj to lend a verse on their track, Mxmtoon reached out to Carly Rae Jepsen for an honest single, and Demi Lovato and Marshmello reminded fans that it’s okay not to be okay.

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

Mxmtoon — “Okay On Your Own” Feat. Carly Rae Jepsen

Mxmtoon is inching closer to releasing this year’s second EP, Dusk. This week, the singer shared an exciting collaboration with Carly Rae Jepsen. “I was beyond excited to work on this track and have it be graced by Carly Rae Jepsen, someone who stands for empowerment and knows the themes of love and loneliness all too well,” Mxmtoon said in a statement. “My hope for the song is that ‘ok on your own’ can let people know that vulnerability is never something to be afraid of, and admitting you need time for yourself and support from a friend is sometimes a necessary step.”

Major Lazer — “Oh My Gawd” Feat. Nicki Minaj, Mr. Eazi, K4mo

Nicki Minaj continued her prolific streak this week by lending a verse on Mr. Eazi and Major Lazer’s track “Oh My Gawd.” Combining Major Lazer’s knack for enormous beat drops with Mr. Eazi’s laidback, afrobeat flow, Minaj adds her distinct style to the hip-shaking single.

Marshmello — “OK Not To Be OK” Feat. Demi Lovato

Last Thursday was World Suicide Prevention Day and Demi Lovato and Marshmello teamed up to get candid about mental health on their collaborative single. “I think a lot of people, about negative feelings and negative thoughts that are affecting them are kind of scared to bring it up, scared to talk about it,” Marshmello told Zane Lowe in an interview about the track. “They’re scared because maybe the person won’t relate or the person won’t understand, when in reality most of time the person that you could bring it up to, will most likely has felt like this or will understand or can relate as well.”

James Blake — “Godspeed”

Since the onset of the pandemic, James Blake has been keeping fans entertained with a number of livestreams. During his sessions Blake infuses his own style into a number of popular tracks, like Billie Eilish’s “When The Party’s Over” and Frank Ocean’s “Godspeed.” Now, Blake has officially released his rendition of “Godspeed” on all streaming platforms. Of the cover, James says: “This song has always been special to me, but I wasn’t expecting the response it’s gotten. Love to everyone who willed the full recording into existence.”

Dua Lipa — “Don’t Start Now (Kaytranada Remix)”

Though she released her shimmering sophomore effort Future Nostalgia just a few months ago, Dua Lipa tapped a myriad of big-name artists to lend a hand on her remix album Club Future Nostalgia. The album dropped in late August, but Lipa wasn’t finished. Kaytranada’s slow-burning remix of her hit track “Don’t Start Now” arrived this week, and it was worth the wait.

Omar Apollo — “Kamikaze”

Hot on the heels of his soaring single “Stayback,” Omar Apollo shared the Frank Ocean-adjacent effort “Kamikaze.” Speaking on the inspiration behind the single, Omar said: “’Kamikaze’ is a song that taps into my old emotions, taking it back to when I was younger. When I made ‘Kamikaze’ I was reminiscing on how I used to feel for someone and realizing those feelings are lost and we’re left with nothing. It feels good to hold on to the memories without the feelings it gave me.”

Annie — “The Streets Where I Belong”

It’s been eleven years since Annie released her last album. But with “The Streets Where I Belong,” the Norwegian singer is ushering in a new era of music touched by moody synths. “Walking through the city where you grew up,” Annie offers as the inspiration to the track. “Coming back to Bergen after spending almost 10 years in Berlin. ‘Streets Where I Belong’ is one of the more personal songs on the album. Inspired by Bruce Springsteen.”

David Guetta — “Let’s Love” Feat. Sia

Nearly nine years after their first collaborative single “Titanium” topped the charts, David Guetta and Sia return with the club-ready “Let’s Love.” Guetta said he hopes the track offers a glimmer of hope during a tough time: “During this time of isolation, I’ve been incredibly inspired to release music that has an uplifting energy. I love producing club tracks but at the same time, especially now, I feel like creating ‘feel-good’ music. ‘Let’s Love’ is a message of love, hope and bringing people together and once again, Sia has out done herself on the vocals.”

KYD The Band — “Corridors”

KYD The Band didn’t have a typical introduction into music. Raised in the Pentecostal Church, the musician wasn’t allowed to listen to secular music. After leaving the church and pivoting towards music full time, KYD The Band has released a handful of singles and EPs. “Corridors” offers a glimpse into the musician’s upcoming alt-pop EP Season 3: The Realization. “I’d love for my music to reach all the kids like me, who are maybe questioning what they were raised to believe or feel like they haven’t found where they belong just yet,” he said about his music.

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

Future Islands have a new album, As Long As You Are, on the way in October. Ahead of then, they offer another preview of the upcoming effort: “Moonlight.”

The video for the reflective track, which stars Criminal Minds‘ Matthew Gray Gubler and La La Land‘s Callie Hernandez, depicts a couple having a hard time in their relationship. The video flashes between times they’ve spent together and them in a crumbling motel room in present day. This aligns with what Samuel T. Herring says of the track:

“‘Moonlight’ is a song about love in a depressive state. It’s about recognizing the holes in ourselves and recognizing the circular whole of others. ‘Moonlight’ is about acceptance because that’s what love allows us all. ‘I couldn’t see, I had a cloud in my arms, but if I asked you would you say, ‘It’s only rain, nothing more.””

Herring also recently told Uproxx of As Long As You Are, “This one was really about us capturing our vision and how we heard things and taking the time to do that. The Far Field was just so rushed that we didn’t want to have that happen again, that there was a deadline that decided when the album was done. We wanted to decide when the album was done.”

Watch the “Moonlight” video above, and check out our recent interview with Future Islands here.

As Long As You Are is out 10/9 via 4AD. Get it here.

CNBC anchor and Mad Money host Jim Cramer is under fire for calling House Speaker Nancy Pelosi “Crazy Nancy” during an interview on his show early Tuesday morning.

Cramer had Pelosi on to dig into the controversy surrounding stalled negotiations for another stimulus bill to help Americans suffering during the current Coronavirus pandemic when he made the unfortunate mistake of using the nickname President Donald Trump often resorts to when referring to the Speaker of the House. The pair were debating over whether Republicans, taking their cues from Trump, could come to the table with Democrats to get this fourth iteration of the bill finally passed when Cramer threw out the insult.

“What deal can we have, Crazy Nancy — I’m sorry, that was the president,” Cramer said before quickly following up with an explanation for the name-calling. “I have such reverence for the office, I would never use that term.” Pelosi didn’t let him off that easy though, quipping back “but you just did” before Cramer exasperatedly tried to defend himself, saying, “Come on, you know what I mean.”

The whole interaction is cringe-inducing, mostly because it appears Cramer was trying to joke around with Pelosi by using the moniker Trump often hurls at her on Twitter in order to make a point, but that point fell awkwardly flat, and people were quick to let him know it.

Cramer took to Twitter shortly after the interview aired to explain he was simply trying to make a point that it should be unacceptable for anyone, even the President of the United States, to call a woman in an office as revered as Pelosi, “crazy.”

One could argue the real travesty here is how thrilled Cramer apparently was to call a woman crazy for a few laughs and how terribly unequipped he was to deal with the consequences of his on-air behavior, but we’re hopeful he’ll learn a lesson from all this after getting mercilessly roasted for it.

There is no one more familiar with the NBA Bubble than ESPN reporter Malika Andrews, who was the first reporter to make the trip to Orlando for the league’s restart at Walt Disney World’s Wide World of Sports complex, before any players or teams arrived.

It wasn’t just a massive personal commitment to spend the entirety of the NBA’s restart in the Bubble, but a professional one, too. With the limited available spots for media in the “green zone” of the NBA campus, where reporters can actually interact with the players, those that get those spots have to be able to expand their roles. For some, this has meant expanding their coverage to include more teams than are customarily on their beat, but for Andrews it’s meant becoming a TV sideline reporter in addition to her typical written coverage of the league.

It’s a step in her career that she was, initially, supposed to ease into by dipping her toe in the relatively calm, tepid television waters of NBA Summer League in Las Vegas this summer. Those games would’ve provided a lower stress environment to learn the role and grow more accustomed with being on television, as she came to ESPN from a newspaper background with no significant on-camera experience. However, as was the case for millions around the country, the COVID-19 pandemic changed plans, and suddenly her first taste of sideline reporting would be in the NBA’s seeding round and just two weeks into the gig, her first playoff assignment — which now extends to a spot on ESPN’s Game 1 broadcast for the Eastern Conference Finals.

“Robby, I was so nervous,” Andrews said with a laugh. “I mean, I was so nervous. I was sweating. That feeling you get in your stomach where you know you’ve eaten but it feels like you haven’t eaten in days because your stomach feels like it’s bottoming out, that’s how I was feeling on the trial sideline. Like that wasn’t even the real thing yet, and I had [producer] Ian Gruca, he was so patient with me and just kind of walked me through everything and it was very slow, but as I told Ian, it did not matter, I was so nervous.”

Andrews credits the support of the rest of the ESPN broadcast team with helping her transition into the sideline role. She’s had the chance to work games with the legendary Doris Burke, who is very familiar with the sideline role as she excelled at it for years before moving into the booth as an analyst, and cites a specific bit of advice Burke provided as something that helped focus her for in-game interviews.

“The switch that flipped for me was when Doris Burke told me that what she and Mike Breen, Mark Jones, whomever — those have been the play-by-play guys I’ve been working with the most — their cheat sheet; when she does sidelines, she likes to listen to them to get clues on what the in-game interview questions could possibly be,” Andrews said. “Because the way their conversation is going, it helps to be able to slide that interview in with the points they’ve already made or the questions they’ve brought up that then you can actually get the answers to. And when I started thinking that way — I was always listening, but I started to listen in a different way when she said that. It was sort of like, ‘That’s so simple, but ah-ha! that makes sense.’ So, that really helped. … I’m still sweating. My knees have stopped knocking, but I’m fully sweating [laughs].”

On the ground, fellow ESPN sideline reporter and Hoop Streams host Cassidy Hubbarth has been able to offer assistance from in the green zone, sometimes texting Andrews during games, like, “Hey, you got this? You need anything?” Hubbarth, not too far removed from her sideline debut, knows that, as much as anything, it’s understanding the limitations of the sideline role and accepting that your job is to enhance the broadcast however that may fit that can be the biggest hurdle early in your career.

“Yeah, that’s what I said to her,” Hubbarth said. “I think honestly this environment can actually help that anxiety of not contributing as much as you want to because you have a game in, like, another day. So you do feel like you’re working, and she’s just been a workhorse here. Not only is she doing sidelines, but she’s doing every SportsCenter hit imaginable, she’s writing; she’s been a marvel here.”

“I just tell her not to force it,” Hubbarth added, “because when you force things that’s worse than not getting in. Ultimately it’s about what’s happening on the court and you’re just trying to complement the action, and, yeah, sometimes all you’re doing — like I had a game where I was really excited about my opening hit but the game before us went long so we were pushed to ESPNNews and I didn’t get to do that hit and the way the game played out there wasn’t a lot of time or space for additional stories or stuff on individual players, it was all about the action. I always compare it to double dutch, where you’re just waiting to get in and sometimes you just don’t. Sometimes there’s not an opening.”

Accepting that truth of the sideline job is something Andrews has noted has been a “tough” adjustment, but, as Hubbarth notes, there certainly shouldn’t be any feeling like she’s not doing enough in the Bubble overall. Andrews maintains her role as a writer and reporter for ESPN.com, along with doing TV and radio hits from on-site as one of the few who is in contact with players. It’s quite the workload, but something Andrews has embraced in such a unique environment, because ESPN would typically have more than a hundred writers, reporters, editors, and broadcasters on the ground in the NBA Playoffs, but in the Bubble green zone, that number is under 10 meaning everyone has to wear a number of hats.

Where all of those roles came together most notably was when the Milwaukee Bucks led a work stoppage in protest of police in Kenosha, Wisc. shooting a Black man, Jacob Blake, in the back seven times. The Bucks refusal to play Game 5 of their first round series against the Magic not only resulted in halting the NBA Playoffs for three days, but became a movement that saw stoppages in the WNBA, MLB, NHL, MLS, and more.

As the sports world stopped, sports outlets began having conversations rarely seen in an extended format. Prominent Black voices at the league’s TV partners were given airspace to share stories and experiences with racism and police brutality at length, a rarity when games are happening. For Andrews, who covered it from the beginning outside the Bucks locker room on that Wednesday afternoon — and really conversations with players about Jacob Blake being shot all week — it provided a further sense of purpose to what she was doing in the Bubble,.

“It was heavy and draining and there was a whole lot of uncertainty, just in terms of what would happen next,” Andrews recalled of that week. “These players, that entire week you could see them reckoning with this guilt — and that’s my word, not their word. … Like I mentioned with the testing, this is such a privileged existence that we are living here. It’s hard, it takes a mental toll, but it’s also one of the safest places in the country right now. We have an abundance of testing. You can almost forget [the problems of the world], if you choose to turn off the television and not read the Times, because there’s a buffer between us and what’s happening around this country and around the world, and I think for these players that feeling was made more acute because they look like and have the same skin color as these men — and women — but men in this case with Jacob Blake who are being shot. So you could feel that visceral emotion all week, but there was a sense even as the Celtics and Raptors were talking about what they wanted to do. There was a sense with multiple people that Milwaukee would be the group to say something. Looking back, I think you can feel you’re covering something monumental when it’s happening. You can feel this is something that is pivotal, but I think the weight of it was still sinking in because you’re kind of running on fumes and trying to cover it, trying to be diligent, trying to be sensitive while running on three hours of sleep.”

But Andrews believes there was a sense that this was exactly where she needed to be.

“There was this column in the Associated Press about the feeling of being Black and not protesting and if that makes you … what that feels like,” Andrews said. “And for me there is this reckoning of, what is objectivity? Is objectivity the privilege of white journalists? Because historically objectiveness and white has been kind of — objectivity has been white-washed. And how can you show up and continue to work and cover things in this even way when many of these things directly effect you, whether that be as a Black person or a woman. I think that my outlet, what is cathartic for me, is having the opportunity to cover these events and make sure that objectivity isn’t as white-washed as it would’ve been in the past or other circumstances. That gave me a sense of purpose as I continued to write and cover those things, because it was such a privilege that these players trusted me, but also I felt like I had a duty to our readers and our listeners and our viewers to really take care in how we covered this and also highlight facts that are hard to hear or uncomfortable, especially for sports circles. Because, I think you said earlier, so many people are in this because they love basketball, and I do love basketball but I got into this because I love journalism. I just happen to cover basketball and those three days were kind of the epitome of that love and that intersection for me.”

That next Saturday, the Bucks and Magic were set to play the first game since that stoppage and Hubbarth was scheduled to be on the sidelines for that game, as well as ESPN’s late game that night, as they were putting their A-team on those games. However, Hubbarth called senior coordinating producer Tim Corrigan and pushed for Andrews to take sideline duties for that game, given she had been at the forefront of their coverage of the stoppage.

“She came from being on the Bucks beat, and she was at the arena when the Bucks didn’t leave the locker room. I wasn’t,” Hubbarth said. “I was at the hotel getting ready to got to my game later that night, and she was on the scene and she had been covering it. She did a masterful job covering that story during the pause and being in talks with several Bucks players because of her relationship, and, to me, it’s always about what’s going to be the better broadcast. Obviously I’m confident I could’ve stepped up to the plate and done the job of covering what happened, cause I’m still here and I have my own connections, but she was, by far, all over that story. So I just called Tim [Corrigan] and said, just broadcast wise she’ll be the better reporter on this game and that will make our coverage better. That’s what it’s all about. This experience here has been so rewarding in so many ways that to keep score like that, what are we doing it for? It’s not about us, it’s about what’s the best coverage to cover such a historic moment in time for the league and also us as a broadcast group.”

The gesture resonated with Andrews, and only furthered to strengthen the bond between the two.

“I was so touched by how, I think especially airtime and all this stuff can be something that is sensitive and people compete for, but this group — that’s emblematic of how solely focused they are on putting out whatever it is that is going to serve our viewers best,” Andrews said of Hubbarth’s insisting on her taking the assignment. “Who has the best information? And Cassidy has the best information on the Western Conference. She felt that I was going to be the best addition to that Milwaukee Bucks game. Like, she’s just the best. The best.”

That game was the real convergence of all of Andrews’ roles at ESPN, and she’s finding that it’s not just that her reporting background helps her on sideline duty, but that working sidelines is furthering her reporting by building better relationships with coaches and players around the league. For all of the hats she’s had to wear in Orlando, they’ve helped to reinforce and refine her skills across the board.

Doing interviews for TV, where being as concise as possible is a necessity given time constraints, only helps when distilling questions into their simplest for when talking to coaches, players, and executives for print stories. Having the chance for more face time with people from around the league, particularly in the Western Conference where she has far less experience, only grows her contact list and creates more resources for her across the NBA landscape.

For NBA players, the Bubble has provided an opportunity if they’re willing to take it to boost their profile and we’ve seen a number of young stars do so, from Devin Booker to Donovan Mitchell to Jamal Murray and Nikola Jokic. The same can be said for the select reporters in the green zone, as they’ve gotten a chance at rare access and opportunity to expand their roles for their outlets because of the limited entry. There have been some standouts, like Taylor Rooks of Bleacher Report, and Malika Andrews certainly falls into that category as a rising star in the industry.

As Hubbarth said, Andrews has been “thrown into the fire” of sideline reporting and has handled being thrust into that new role with incredible poise and thrived in it — even if she’s still sweating on the inside.

When you hear the term “scene stealer,” who is the first person you think of? For me, it’s John C. Reilly. The Oscar nominee is great as a lead (Check It Out! with Dr. Steve Brule, a very funny show; Walk Hard, a masterpiece) or co-lead (Step Brothers, another masterpiece), but even when he’s in a supporting role, he’s, well, stealing scenes. Think: drunk R2-D2 in Cedar Rapids, “what do you bench?” in Boogie Nights, guiding Jack Black through his mushroom trip as Sasquatch in Tenacious D in The Pick of Destiny.

In Showtime’s new comedy Moonbase 8, Reilly is one of three doofus astronauts, along with Fred Armisen and Tim Heidecker, who are preparing to travel to the Moon. With all due respect to Armisen and Heidecker, both of whom are extremely funny, I expect Reilly to be the show’s MVP. He’s very good at being very good.

Here’s more on Moonbase 8 (you can watch the trailer above):

Set in the isolated desert of Winslow, Arizona at NASA’s Moon Base Simulator, Moonbase 8 follows eager astronauts Skip (Fred Armisen), Rook (Tim Heidecker) and their leader Cap (John C. Reilly) as they attempt to qualify for their first lunar mission. While working vigorously to complete their training, a series of unexpected circumstances forces the astronauts to question their own mental sanity, trust in each other, and whether or not they’re cut out for space travel.

Moonbase 8 premieres on Showtime on November 8.

John Boyega has stepped down as the brand ambassador for the Jo Malone fragrance after the actor learned that he was replaced in an ad campaign that he created.

In a Twitter thread announcing his exit, Boyega revealed that he was tapped to execute a short film for the company that went on to win the Best Media Campaign at the 2020 Fragrance Foundation Virtual Awards. The film featured Boyega’s home neighborhood along with his friends and family. “The film celebrated my personal story,” the actor wrote. However, things went south when Jo Malone entirely reshot the campaign for a new ad in China without his “consent or prior notice,” prompting Boyega to speak out and resign from the brand.

“While many brands understandably use a variety of global and local ambassadors, dismissively trading out one’s culture this way is not something I can condone,” Boyega tweeted. “It’s back to back but I assure you this will be dealt with swiftly. I don’t have time for nonsense. We press on and strong.”

You can see Boyega’s full statement below:

Ahead of Boyega’s resignation, Jo Malone had attempted to rectify the situation on Saturday by releasing a statement to The Hollywood Reporter, to which the fragrance company admitted its mistake and apologized to all parties involved:

“We deeply apologize for what, on our end, was a mistake in the local execution of the John Boyega campaign,” Jo Malone London said in a statement sent to THR. “John is a tremendous artist with great personal vision and direction. The concept for the film was based on John’s personal experiences and should not have been replicated.”

The company said it also apologized to [actor Liu] Haoran, who was not involved in the “concepting” of the campaign.

“While we immediately took action and removed the local version of the campaign, we recognize that this was painful and that offense was caused,” it added. “We respect John, and support our partners and fans globally. We are taking this misstep very seriously and we are working together as a brand to do better moving forward.”

By that point, the damage was already done. Boyega has become a fierce advocate against cultural slights, even going so far as to call out Star Wars, and clearly, he was not about to let this latest transgression stand.

(Via John Boyega on Twitter)

Clairo’s usual instrument of choice is the guitar, but she’s branching out during the pandemic. Last night, she shared a cover of Carole King’s frequently covered classic “You’ve Got A Friend,” and she notes in the SoundCloud description that the performance was her “first time recording while playing piano.” She also said the performance was recorded in one take, and she sounded like a natural on the simple but lovely recording.

This isn’t Clairo’s first take on somebody else’s song in recent days. In April, she took on Anna Domino’s “Everyday, I Don’t,” and in May, she performed Johnny Flynn’s “Brown Trout Blues.” She also participated in an all-star The 1975 tribute livestream and has guested on a Charli XCX livestream.

She has been getting some original music out there as well. She debuted an “Everything I Know” demo in March, and she also premiered a pair of new songs during a livestream festival.

Back in spring, she began a slew of tour dates supporting Tame Impala, but she didn’t get to conclude her run thanks to the coronavirus pandemic. Still, she managed to make a brief video diary about the experience.

Listen to Clairo cover “You’ve Got A Friend” above.

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

For her last several music videos as director, Teyana Taylor has adopted the alias Spike Tey, a play on the stage name of famed Do The Right Thing director Spike Lee. In her latest video, the Harlem singer takes the parallel a step further, borrowing inspiration from her namesake’s 1996 comedy Girl 6 to tell the story of a group of comedic phone sex operators — which is only right for a song called “1800-One-Night.”

The video for “1800-One-Night” opens by giving each of Taylor’s “co-workers” a spotlight, showing how the reality of their mundane, office-bound desk jobs contrasts with the fantasy service they provide their customers. The girls read magazines, sip wine, paint their nails, and fake orgasms for their clients — although one gets really into her performance, decorating her desk with adult toys and sensuously downing a chocolate syrup-covered banana. Taylor takes over at the 2:18 mark, singing the song from her recently-released project The Album as the scene switches to depict her in a phone booth solo. The end of the video parodizes (or pays homage to) the late-night television commercials for phone services like the one depticted, before the camera again pulls back to show the filming of the commercial, as Teyana stumbles away from the shoot, declaring “I’m too pregnant for this sh*t!”

Watch Teyana Taylor’s ‘1800-One-Night’ video above.