Tony’s got a list and he’s checking it twice, on a very Sopranos Christmas episode.
On this week’s episode of Pod Yourself A Gun, Rachel Fisher, host of the Hollywood Crime Scene podcast, joins Matt and & Vince to talk about The Sopranos season 3 episode 10, “…To Save Us All From Satan’s Power.”
That Jesus guy – he was the real gangster. He had wisemen wandering all across the desert to bring him frankincense, myrrh, and gold, just for being born. Marone! That’s a good earner.
Meanwhile, before the Satriale’s Christmas party, Tony has to schlep all over town finding a new Santa to replace the snitch friend he murdered, taking care of his good-for-nothing sister’s Russian, and transferring some “cannolis.”
In a truly delightful moment on the pod, Rachel explains to Matt and Vince that the cannolis Tony was transferring were not food. We also listen to some voicemails and discuss Jackie Jr’s motorboating technique. It’s a great mother-jumping episode.
Barack Obama stopped by Jimmy Kimmel Live on Thursday night to promote his new memoir, The Promised Land, and while the former president was prepared to talk about his personal life, he clearly wasn’t expecting how personal things would get. In the middle of a conversation on Donald Trump and his crazy conspiracy theories, Kimmel pivoted to a theory of his own about Obama’s love life that came way out of left field. In a nutshell, Kimmel wanted to know (after the 18:00 min mark above) if Obama and his wife Michelle got busy the night that SEAL Team 6 took down Osama bin Laden.
The question understandably caught Obama off guard, who sat there stunned for a moment while Kimmel explained his reasoning. “When I read the book and you were talking about hearing people outside the White House chanting ‘USA, USA, USA,’ I had an image in my head,” Kimmel quipped to Obama who quickly gathered his senses and even leaned into the gag. Via Vulture:
“I suspect that she was asleep because the truth of the matter is, most of the time, by the time I was done working, she’d be snoozing,” Obama laughed. Look, a queen needs her beauty rest! “You don’t have to make excuses, it’s okay,” Kimmel lets him off. “I experience the same thing.” But Obama keeps it real: “It’s not an excuse; it’s a lament.”
Awkward questions about his sex life aside, Obama’s interview included several digs at Trump, including how Navy SEALs might need to drag him out of the White House. This also including the clip below where Kimmel asked if Obama made his memoir 700 pages long so Trump couldn’t read it. Not missing a beat, Obama offered a witty retort on how it wouldn’t even take that much effort.
In his first full season in Los Angeles, Anthony Davis accomplished exactly what he set out to do and helped lead the Lakers to a championship. In the process, he added an undeniable sense of credibility to an already stellar career and laid the groundwork for success alongside LeBron for the next few years.
So it makes little sense to read anything into the fact that he’s being meticulous about his new contract with the team. Davis isn’t going anywhere anytime soon, despite opting out of his current deal and technically entering free agency. The Lakers know he’s planning on re-signing. The question now is for how much and how long.
According to the latest reports, Davis doesn’t feel the need to rush anything, despite the free agency moratorium officially opening at 6 p.m. ET on Friday. No, Davis will apparently take his time to consider both his immediate future with the team and a framework for whatever might come after.
Klutch Sports CEO and Davis’ agent, Rich Paul, will be in contact with Lakers general manager Rob Pelinka after 6 p.m. Friday, sources said, but Davis plans to wait minimally through Thanksgiving as he considers his options on the length and structure of maximum contract deals.
Davis, 27, has several possible scenarios on a new deal with the Lakers, including a three-year, $106 million deal that would include a player option on the 2022-23 season — a structure that would align Davis with the end of LeBron James’ deal.
Davis could do a two-year, $68 million deal with an option after next year — or longer deals for four years ($146.7M) and five years ($189M).
It’s unclear exactly which way Davis is leaning, whether he’d like to stay in L.A. long-term or to keep his options open and see exactly where LeBron is physically after next year — although if their championship run in Orlando is any indication, he’s shown little sign of slowing down despite his age after winning his fourth Finals MVP.
Still, a lot could change between now and then, and LeBron himself opted for shorter-term deals during his last stint in Cleveland, which ultimately opened the door for his signing with the Lakers. Regardless, fans in L.A. don’t seem to have anything to worry about with Davis.
Luh Kel dropped his album L.O.V.E. back in October and ahead of its release the rising R&B star invited Uproxx for an exclusive behind the scene peek at the making of his music video for “Feen” featuring Trippie Redd.
The set I arrived at was located in one of Hollywood’s elusive canyons where it was cold, windy, dusty, with a spread of million-dollar cars on the lot. When I got there, Trippie was shooting his part in the cave, lit by a crackling fire. While Trippie shot his part of the visual, I sat with Luh Kel, who was on day three of the shoot, and he told me more about the creation of “Feen.”
“The meaning of the song is just feigning about a girl when she not around you and you want her around,” he told me in between shots. “I got Trippie Redd on it. I felt like it matched his vibe so we sent him the song. He got on it. Sent it back and we started shooting the video. This is my biggest budget video. I’m flying in the air and getting captured by a gust of wind with a bunch of video effects.”
Directed by Matt Zoley, “Feen” finds Luh Kel dehydrated in the middle of the desert, yearning for his love and reminiscing about the good times before being appeased with a flowing of water that turns into a clear homage to Busta Rhymes’ music video “What’s It Gonna Be?!” Kel and the woman he’s been desiring then ride off in a shiny Lamborghini to a dark cave where Trippie lets off his verse over a warm wood fire while surrounded by angels.
“I recorded it with Scott Storch. He made the beat,” he added. “We was in the studio in February and now it’s October. Trippie just sent the verse last month.”
Luh Kel’s album L.O.V.E. also features additional production from Scott Storch and the 18-year-old musician says he’s just trying to “bring love back into the world” with the project.
Watch Luh Kel’s music video for “Feen” featuring Trippie Redd above.
Chadwick Boseman’s death is one of those moments we will probably always remember where we were when we heard the news. It’s not important what we were doing, it’s just important we all know what we were doing. It felt like a gut punch in a year where we’ve all been punched in the gut so often we didn’t realize there was anything left to hurt. I avoided writing about his death at the time because I simply wasn’t prepared to face facts. Basically, I’ll address that when I have more headspace to properly process what this means. In a world surrounded by so much grief, it was too difficult to add this on top of everything else. Besides, he still had another movie coming out, Ma Rainey’s Black Bottom, that people in the know were describing as perhaps his finest performance. Chadwick Boseman was gone, but there was still a sense he had one last gift to give us before he said his final goodbye. And I guess I wasn’t ready to say goodbye until we got to see that one remaining gift.
Which is why Ma Rainey’s Black Bottom is such a difficult movie to watch. While watching, it’s impossible not to face facts: this is it. And, my goodness, Boseman is just so alive in this movie. This is not an “understated” performance. It’s like watching an athlete give it all on the field and we are left there wondering how this man isn’t just completely exhausted. Yeah, turns out Boseman did have one last gift for us. And, my gosh, he didn’t disappoint. He’s pure dynamite. It’s devastating.
Based on August Wilson’s 1982 play of the same name, it’s set around blues legend Ma Rainey (Viola Davis, who is incredible) at her recording session in 1920s Chicago – which is fraught with problems and drama. Boseman plays Levee, a trumpeter in Ma Rainey’s band who doesn’t understand why he isn’t getting more attention for his musical talents. Boseman’s performance of Levee makes him both unbearably likable, mixed with just enough frightening ambition that leaves us wondering what Levee might be capable of doing.
But there’s no getting past that, besides some pretty nifty and stylized opening credits, this looks and feels like a play. And, look, that’s not necessarily a bad thing. Normally I do prefer movies based on plays to feel a little more … open. But, here, especially under the unique circumstances, it becomes all about the acting. And the thing is, I probably won’t be saying near enough as I should be about Viola Davis’s performance. She brings it. But I know I’ll be watching many, many more great Viola Davis performances over the coming years. It just was never lost on me, while watching Boseman, that this was it. And I guess we’ll never know if he knew if this was it or not, but, I’ve used the word gift a few times already, but it truly is. To get this one last great performance as a way to say goodbye to this man so many people love, well there’s no other way to say it.
It just feels like in any other year we’d still be mourning Boseman. But this year, well, we still need to just get through it all before we can truly go back and look at what we all lost. But, in the meantime, we get to celebrate this great actor one more time. Who, here, is so full of life. Playing a character who is full of joy, pain, talent and anger. Again, it’s the kind of performance you just want to applaud. You can kind of envision it, the cast coming out to take their bows as Boseman steps forward one last time. And then Ma Rainey’s Black Bottom ended … and that was it. This whole time, thinking, well, there’s still one more movie coming, that is now over. It’s desperately sad. It’s the end of a career cut far too soon. But we won’t forget. And we won’t forget this one last shining jewel of a performance. And for that, we should all be grateful.
‘Ma Rainey’s Black Bottom’ will stream via Netflix on November 25th. You can contact Mike Ryan directly on Twitter.
Here is something that I believe: Robert Englund should have won the Oscar over Michael Douglas in 1988 for his performance as Freddy Krueger in A Nightmare on Elm Street 3: Dream Warriors. No, really. The “greed is good” speech from Wall Street is fine and whatever, but it’s no “welcome to primetime, bitch” or “What’s wrong, Joey? Feeling tongue-tied?” Unfortunately, we can’t go back in time and take away Douglas’ Oscar, but we can return to the 1980s through Stranger Things, which cast Englund for season four.
Englund is set to play Victor Creel, “a disturbed and intimidating man who is imprisoned in a psychiatric hospital for a gruesome murder in the 1950s,” according to the Hollywood Reporter. The horror movie icon is one of several new additions to the Netflix hit, along with Tom Wlaschiha (Jaqen H’ghar from Game of Thrones) as a Russian prison guard who “befriends” Chief Hopper and Jamie Campbell Bower (young Grindelwald in Harry Potter and the Deathly Hallows – Part 1) as “Peter Ballard, a caring man who works as an orderly at a psychiatric hospital. Tired of the brutality he witnesses day after day, Peter may be poised to take a stand.” Other new cast members include:
-Nikolaj Djuricko as Yuri, a seedy and unpredictable Russian smuggler who loves bad jokes, cold hard cash, and crunchy peanut butter;
-Mason Dye as Jason Carver, a rich sports star whose perfect world begins to unravel in the face of a new evil;
-Sherman Augustus as Lt. Colonel Sullivan, a no-nonsense man who believes he knows how to stop the evil in Hawkins.
Hopefully all the extra time between Stranger Things seasons has allowed the Duffer Brothers to write at least one “on a scale from 1 to 10, your pain is going to be an Eleven, bitch”-type joke for Englund. But, y’know, better than that.
Matt Berninger worked with an esteemed roster of collaborators on his debut solo album Serpentine Prison, and now he has added another after the fact: He got Future Islands to contribute a new remix of “One More Second,” and they really put their mark on the track.
It immediately sounds more like a Future Islands song thanks to the band’s signature persistent bass sound in the opening and then throughout. Another major element of the band’s sound, soaring synths, is also used in full effect here to really make it sound like Berninger’s vocals are laid atop a Future Islands track.
Berninger is a fan, as he said of the re-worked track, “Every time I put on Future Islands my impression of the human condition improves. Their remix of ‘One More Second’ kills me.”
Fans wanting to learn more about the collaboration can look forward to tomorrow, as Berninger and Future Islands’ Samuel T. Herring will be talking about it on Instagram Live.
Berninger recently told Uproxx about what it was like recording Serpentine Prison with Booker T. Jones, saying, “We moved really fast. We recorded everything in 14 days including almost all the overdubs. He would say, ‘Matt we got that one, let’s move on to another fish.’ He’s like, ‘We don’t need to keep catching this tuna. Let’s go find a shark.’ He moves fast.”
Listen to the Future Islands remix of “One More Second” above, compare it to the original version below, and revisit our interview with Berninger here. Also check out our recent chat with Future Islands here.
Detroit’s Kash Doll returns to smash on the competition with “Bad Azz” produced by DJ Infamous and featuring Mulatto and Benny The Butcher. The new song was premiered during Gucci Mane and Jeezy’s Verzuz battle last night, nearly being swallowed in the drama that followed. It’s impossible to keep these three rappers down for long though; the track resurfaced a couple of hours after being played during the Verzuz intro set, driven by the 2 million viewer debut that had the audience reaching for their Shazam apps.
“Bad Azz” is Kash Doll’s first new solo single since March’s “Rich Hoochie.” Clearly, it appears that Kash’s album promo was derailed by the pandemic, like so many other plans this year. But the Detroit rapper already proved her indomitable will on 2019’s Stacked, making it a near certainty she’d overcome the setback. Recruiting Mulatto and Benny for her comeback single shows she’s unafraid of the moment and knows just how to capture the public’s attention.
Her collaborators on “Bad Azz” have both had a breakout 2020; while Mulatto appeared on XXL‘s 2020 Freshman Class and dropped her charming debut Queen Of Da Souf shortly thereafter, Benny has popped up everywhere from Russ’ new EP to Freddie Gibbs’ top five rappers list, dropping his own Burden Of Proof to widespread acclaim.
There are a lot of reasons why a certain whiskey might not get the respect it deserves. In some cases, you have expressions or brands that are worldwide best-sellers, but every critic and mixologist will tsk if you dare touch the stuff. In other cases, pop culture will anoint a certain bottle worth your money and shelf space, thereby eclipsing sometimes dozens of other bottles that are just as good. Maybe even better.
Then there’s the fact that the industry has such a deep bench of expressions these days, most are inevitably going to get ignored. Don’t believe us? Buffalo Trace alone has 47 whiskey varieties available at the moment with many of those getting yearly re-releases. It can be dizzying.
To help you parse out the underhyped bottles on grocery store shelves, we thought we’d call out ten bottles we think don’t get the due they’re owed. Our reasons are simple: These are bottles that a lot of people know, sure, but they’re also the bottles the gatekeepers (critics, writers, so-called aficionados, bartenders, and even whiskey drinkers) slag off more than they celebrate. So, let’s bury the negativity today and dive into bottles that deserve a little more respect the next time you’re in a bar or shopping at your local liquor store.
The ten expressions below span whiskey regions and styles. They’re all fairly easily sourceable. And they all have their merits as mixers, shooters, or sippers.
Crown Royal is a Canadian blend that was made specifically for the arrival of the British monarchs back in the 1930s on their first visit to Canada. The blend marries 50 Canadian whiskies of varying grains and aging lengths from the 1-million-barrel Gimli aging facility in Manitoba.
Tasting Notes:
There’s a clear sense of vanilla next to ripe berries and a hint of maple syrup sweetness. The sip holds onto the vanilla and bright berries as hints of oak temper the sweeter edges of the syrup. The end is short, sweet, fruity, and lightly spicy and warm.
Bottom Line:
Canadian whisky deserves more respect in general. A great place to start is with a bottle of Crown Royal. A lot of folks use this as a mixer with Coke or ginger ale, which is perfectly fine. It also works on the rocks in a pinch and makes a decent old fashioned.
Chivas Regal is one of the biggest whiskies in the world, but that’s mostly outside of the U.S. The juice is a classic blend that is specifically built to be in a glass filled with rocks and maybe a splash of water.
Tasting Notes:
Cedar with hints of citrus, anise, banana, and salted caramel greet you. Creamy vanilla marries mild nutty notes as the nose carries on through the palate with hints of black pepper and malt. The finish is mellow, spicy, and creamy, albeit short.
Bottom Line:
This is a classic all-around for a highball or on the rocks. It’s a shame it gets overshadowed by bigger scotch blends (cough, cough … Walker … cough, cough) and almost ignored by bourbon fans given the vanilla, spice, caramel, and nuttiness in the body of the dram.
Sticking with the under-appreciated Canadian whiskies, Black Velvet Reserve is a shockingly good whisky forits price. No, it’s not the be-all-and-end-all of Canadian whisky. But it’s cheap and very drinkable. The actual juice is an Alberta spirit mostly rendered from corn and rye that’s blended before it goes into the barrel for eight long years.
Tasting Notes:
Peppery rye mingles with toasted oak, rich vanilla, and a nice dose of sweet caramel. A slight fruit note arrives — think cherry — that counterpoints the spicy rye while the oak and vanilla fade into the background. A slice of citrus arrives late and ends the finish rather abruptly, but nicely.
Bottom Line:
Look, we’re talking about a $15 bottle of whisky. It’s meant to be enjoyed with a glass of ice, mixed, or part of a highball. At the end of the day, if given the choice between something like Evan Williams — which also costs about $15 per bottle — and this, we’re going with this every time.
This bottle from Jim Beam replaced their 8-year expression but keeps the deeply well-rounded qualities of that bottle. The juice is basically Jim Beam that’s aged almost twice as long, brought down to proof with Kentucky’s famous soft limestone water, and then bottled.
Tasting Notes:
Classic notes of bourbon vanilla meet caramel, corn, and a hint of oak. This sip is the epitome of smooth. The plastic-y nature that can peek into regular Jim Beam is completely gone, leaving that vanilla, caramel, oak, light cherry fruit, and a final wisp of smoke on the very end.
Bottom Line:
Fred Noe, Beam’s iconic Master Distiller and living bourbon legend, drinks this stuff at home. We know what you’re thinking: How can we call out one of the best selling whiskey brands on the planet as not getting enough respect? Because of those sales numbers, folks tend to dismiss Beam as being too big to care about or too industrial.
It’s not. This is a damn fine workhorse bourbon for around $20. That’s a hard feat to pull off these days.
Hailing from Buffalo Trace, this nearly-bottom-shelf bourbon is rarely cited as a bourbon you should be drinking if you want something both good and cheap. The juice is the same mash bill as Buffalo Trace’s much-lauded and beloved Blanton’s Single Barrel. Granted this is not a single barrel, but it’s the same juice that’s blended with other barrels that weren’t deemed quite good enough to become Blanton’s.
Tasting Notes:
There’s a clear note of corn up top with vanilla, caramel, and a bit of butter. The sweetness leans into toffee territory with a mild hint of spice next to a caramel corn feel. The end is cut short by a rush of citrus and you’re left with a slight warmth.
Bottom Line:
At $13, you could do a lot worse than this bottle. If you’re mixing up simple drinks, it’s a solid candidate.
It’s also better than Evan Williams. There, we said it.
Cardhu is one of those little Speyside distilleries that gets lost in the shuffle very easily. The juice in this bottle is a classic malt that leans heavily into the fruitier and sweeter side of scotch single malts, as opposed to the heavily smoked side of the style.
Tasting Notes:
Spicy apple next to hints of other tropical fruits greet you. There’s a bit of butterscotch lurking in the background, with a very, very distant echo of smoke. The malts, spice, apple/pear, and sweet velvet nature linger for just the right amount of time as it fades away.
Bottom Line:
The Cardhu 11 was a big surprise in this year’s Diageo Rare by Nature collection. So this whisky squarely falls into the category of needing more respect by simply needing more recognition as something worth seeking out.
This is a bottle of Turkey that eschews the higher proof of Wild Turkey 101 for a much more approachable 81 proof. The juice is classic Turkey with a high-rye mash, straight-forward maturation, and high-quality crafting.
Tasting Notes:
Stonefruit, vanilla, corn, and caramel greet you. There’s a hint of rye spice in the body with apples and mild Christmas spices. The end is short-ish with hints of that apple, corn, vanilla, and spice peaking back in.
Bottom Line:
Yes, Wild Turkey is popular. But, let’s face it, Wild Turkey is looked at as a kid’s whiskey that you abscond with for high school parties. A brand that you’re supposed to age out of. That’s bullshit, if you ask us.
This is a perfectly fine bourbon at a good price that works really well as a mixer for cocktails and highballs.
The beauty of Old No. 7 comes through in the process. This is a low rye whiskey (only eight percent) that goes through the famed Lincoln County Process. That’s where the whiskey is filtered — one drop at a time — through a large stack of sugar maple charcoal. This adds depth to the dram while taking off the harsher edges more associated with a young bourbon. It’s also what makes it Tennessee whiskey.
Tasting Notes:
Bananas seared in brown butter mingle with vanilla crackers and a slight corn essence. The sip adds to that with a bitter charred oak edge with a hint of spicy warmth. The end is short, full of that buttery banana, and slightly warm.
Bottom Line:
Jack Daniel’s is the best selling whiskey in the world. You’ll also always see people roll their eyes at you when you offer it to them at a bar or whiskey event. There’s just something about being number one at anything that makes people dismiss or even hate it.
Again, we call bullshit. This is perfectly fine workhorse whiskey for this price point and it has stood the test of time for a reason.
This whisky from the Kaikyo Distillery in Akashi, Japan, is an easy-drinking blend of malt whiskies from Japan and malts imported from Scotland. The whiskies are aged in three different casks — bourbon, sherry, and Mizunara — before it’s brought down to proof and bottled.
Tasting Notes:
The malt comes through with a honeyed sweetness next to bright orchard fruits and a hint of dried wood. The fruit becomes more dried as the malts sweeten and the dried florals arrive next to a very light sense of vanilla pudding. The end is sweet and slow, with a final billow of spicy tobacco smoke.
Bottom Line:
You could probably insert almost any Japanese whisky in this slot as deserving of more respect from American whiskey drinkers. Still, Hatozaki is a fine blend of malts that offers a chance to take a light dip into the style. It’s also a great candidate for a highball.
While wheated bourbons are all the rage at the moment (Pappy and Weller being the most sought-after examples), wheat whiskies have not quite hit as resoundingly … yet. Bernheim Original Wheat Whiskey — from Heaven Hill — flips the script and uses mostly winter wheat that’s supported by small doses of corn and malted barley. The juice is then aged for seven years in new oak.
Tasting Notes:
There’s a honey sweetness that works well with the grain and vanilla on the nose. The sip hits on notes of spice, bright berries, and buttery toffee with a velvet body. The end brings about round toasted oakiness with a little more of the spice and buttery toffee as it fades across the senses.
Bottom Line:
This whiskey is starting to win big awards and will be popping up a lot more soon, especially given its accessible price point. Try it now! Use it as a cocktail base or on the rocks.
Tucker Carlson isn’t as die-hard of a Trump fan as Sean Hannity, who invited Rudy Giuliani to follow up on his hair-dye-filled meltdown of a press conference that was mocked by Trump staffers caught on live video, as well as the world at large. Carlson and Hannity did focus on the same issue in their followup to Rudy’s mania, though. And whereas Hannity let the spectacle continue — allowing Rudy to rant (complete with a throat-slash gesture) about an already debunked conspiracy theory that revolves around a baseless claim about vote-changing software orchestrated from a (nonexistent) German server — Carlson also wished to discuss the matter, not so much about Giuliani but fellow Trump Team attorney Sydney Powell.
It’s a stunning segment, partially because Carlson points out that he’s exceedingly “open-minded” (enough to cover UFOs on his show), but he cannot stomach Powell’s kooky election fraud claims when she has refused to cooperate with his requests for evidence. Carlson points out that he’d be down to help prove the “single greatest crime in American history… millions of votes stolen in a day… Democracy destroyed,” but he can’t get Powell to cooperate… perhaps because she has no evidence? Exactly.
Tucker Carlson calls out Sidney Powell, saying he asked her for evidence to support her election fraud claims, but “she never sent us any evidence despite a lot of requests, polite requests, not a page.”
As Carson reveals, Powell “never sent us any evidence despite a lot of requests, polite requests,” and she apparently grew furious over the matter and asked Tucker’s people “to stop contacting her.” Further, “she never demonstrated that a single actual vote was moved illegitimately by software from one candidate to another.”
Surely, Trump was not pleased while watching this from his self-imposed White House bunker. This deserves a poem, right?
So Tucker Carlson asked Sidney to release the Kraken.
But it seems that her evidence, and credibility, were lackin’.
That trump seems to have lost Tucker is quite gobsmackin’.
It’s a sign that Fox News is starting to come full circle with the idea that Trump has lost the election. Carlson even said last week that Trump would have no one to blame but himself if he ended up losing, but it also looks like Trump can blame both Giuliani and Powell for making the situation even more of a hot mess. And it’s a dangerous mess, since Rudy and Sydney are both on-board with the false conspiracy of the U.S. army seizing a software server that flipped Trump votes to Biden. And of course, it’s all Hillary’s fault, according to the kooky theories. I don’t think Hillary is listening anymore!
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