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Now, this is a story all about how The Fresh Prince of Bel-Air premiered 30 years ago this week. To celebrate the occasion, the Fresh Prince himself Will Smith shared photos from the show’s upcoming HBO Max reunion, which just began filming (your move, Friends). “Today is exactly 30 YEARS since The @FreshPrince of Bel-Air debuted! So we’re doin’ something for y’all… a for real Banks Family Reunion is comin’ soon to @HBOmax! RIP James,” Smith wrote, referring to his on-screen uncle, James Avery.

But the rest of the main cast from the sitcom, which aired for six seasons on NBC, was in attendance, including Tatyana Ali (Ashley), Karyn Parsons (Hilary), Joseph Marcell (Geoffrey), Daphne Maxwell Reid (the second Aunt Viv), Alfonso Ribeiro (Carlton), and DJ Jazzy Jeff (Jazz). Smith and Ribeiro are always reuniting on The Tonight Show, or whatever, so that’s not a big deal. The real news here is that the original Aunt Viv, Janet Hubert, agreed to take part in the reunion, 27 years after she and Smith, who once said that “Hubert wanted the show to be The Aunt Viv of Bel-Air Show,” last spoke.

“There will never be a reunion… as I will never do anything with an asshole like Will Smith,” Hubert said back in 2011. “He is still an egomaniac and has not grown up. This constant reunion thing will never ever happen in my lifetime unless there is an apology, which he doesn’t know the word.”

While it doesn’t appear that Hubert will join the rest of the cast for the reunion, her segment with Smith, an “emotional reunion and a candid conversation,” will be part of the televised event, HBO Max said in a news release.

The Fresh Prince reunion is expected to premiere on HBO Max around Thanksgiving.

“So, what should I call you?”

It’s a question posed by one of two lead characters to the other in Luca Guadagnino’s new HBO show, We Are Who We Are. And it’s a set of words that instantly evokes, at least in my mind, the title phrase of the director’s 2017 film, Call Me By Your Name. The context between the two pairs of leads, however, differs greatly. You won’t be left in tears by the HBO series (at least, not in the first half of the season that was screened for critics) like you may have been during the love story between Armie Hammer and Timothée Chalamet’s characters. Rather, Guadagnino’s first stab at drawing something out beyond feature-length carries lower emotional stakes than expected. It’s less of a gut punch and something that feels more akin to an experiment. And since we’re talking about Guadagnino, he knows we’re expecting an immersive experience.

Granted, there are multiple surface similarities between the two projects at work. A sun-drenched, often-picturesque Italian setting for one thing; the idea of non-Italians living temporarily in Italy; an exploration of the adolescent experience; two leads who recognize something crucial in one another and forge an unshakable bond. In this case, we’re talking about Fraser (Jack Dylan Grazer of Shazam! and Andy Muschietti’s It movies) and Caitlin (Jordan Kristine Seamón, a newcomer with presence), two U.S. Army brats whose lives are at once well-traveled but insulated, and isolated… together. Guadagnino enjoys playing with such contradictions. Sure, he’s lending his audience some beautiful landscapes, too, but really, he’s exploring America from afar. Since this a U.S. military base, we overhear an aside: “This is America.”

Yup, the base actually functions as a microcosm of American society. Fraser’s the newcomer by way of NYC with his two moms, Sarah (Chloe Sevigny) and Maggie (Alice Braga). Sarah’s picking up colonel duties, and she doesn’t have the finest-tuned motherly instincts. Whereas Fraser’s an occasional loose cannon, full of angst and sometimes slightly insufferable, yet understated during most moments. He meets Caitlin, whose mysterious aura churns out more questions than answers for a few episodes, after which it becomes apparent that these two will be significant players in each other’s lives, however fleeting their time together on the base might end up being.

What results is an ephemeral and rootless take on adolescence. The viewer can soak in dreamy sights and get carried away by the pair’s respective escapes into their headphones. Sounds of waves crashing and Guadagnino’s meandering approach to following his characters around is, you know, rather comforting right now. The not-much-happening-all-at-once vibe could never feel as cool as Tarantino made it feel in his last film, but the show takes an inventive approach to structuring episodes. Two installments essentially follow the same events from different perspectives, and one entire episode follows a debaucherous all-night party that would feel right at home on Euphoria. It must also be noted that this goes down with a more literally euphoric feel and less nihilism than the Zendaya-starring series.

We Are Who We Are also grapples with issues, including gender identity. Yet it never takes a heavy-handed approach to a coming-of-age story, preferring instead to casually sway between feeling at once youthful and far beyond its years. Time languidly unfurls, stretching out over lazy summer days that seemingly go nowhere while these teens, unavoidably, are hurtling toward adulthood. The unknown future looms, and they’re simply biding their time without fully grasping that change (and real responsibility) lies ahead for all of them. (I’m not sure how Francesca Scorsese’s gregarious character — being carried to sea, above, and she is a hoot — will possibly handle adult life, but it sure as hell won’t be a dull affair.)

I don’t want to overemphasize this next detail, though it feels necessary to mention: these events take place against the backdrop of the 2016 election. There’s not a lot of emphasis there over four episodes, although I gotta say that it was jarring to see Kid Cudi’s role, as Caitlin’s father, including a MAGA hat. Yet that scene mostly acts to reinforce that the military generally operates in support of the conservative powers that be, which (unsurprisingly) do not necessarily reflect the behavior of all who reside there.

Ultimately, We Are Who We Are gives its audience an escape with a reassuring sense of structure — on a military base with surrounding picturesque sights and sounds — and it’s Luca Guadagnino’s gift to viewers, ultimately reassuring and meditative, like a beachy blanket to spend some hours before returning to the “real” America. The director also is at one with his audience here. He realizes that if we’re into his work, we probably dig a little bit of pretension, but not too much. We probably wouldn’t mind a weird food metaphor tossed in for good measure, either. This show brings a sense of dark humor at times, although, nope, no peaches (and I don’t have to stress over Elio’s bedroom probably attracting ants as a result).

No ants. That scores points from me, but I also enjoyed the vibes of this show. It doesn’t go anywhere, really, only stays right where it is, but still, it’s quite a trip to get there.

HBO’s ‘We Are Who We Are’ debuts on Monday, September 14 at 10:00pm EST.

Debuting her third verse in as many months, Nicki Minaj aims to keep her Barbs happy as they await her upcoming album with her guest feature alongside Mr. Eazi and fellow Nigerian act K4mo on Major Lazer’s “Oh My Gawd.” The track combines Major Lazer’s EDM world with Mr. Eazi and K4mo’s Afrobeats sound while allowing Nicki to thrive in the best of both worlds on the hip-shaking track. The song is slated to arrive on Major Lazer’s upcoming fourth album, Lazerism, and was originally teased for a July release, but a few delays pushed the song away from a mid-summer arrival.

The song arrives just weeks after Nicki Minaj joined Ty Dolla Sign for their “Expensive” collaboration. The track, which is set to appear on Ty Dolla Sign’s upcoming Dream House album, honors the high-class and materialistic woman, a role Nicki plays on the song. Other songs with a Nicki Minaj feature that have arrived include ASAP Ferg’s “Move Ya Hips,” which also features MadeinTYO, and Tekashi 69’s “Trollz,” a song that gave Nicki her second career Billboard chart-topping single following. Nicki’s first No. 1 single arrived with her and Doja Cat’s “Say So” remix. In conjunction with its release, Mr. Eazi also spoke on the song and how it came together.

“This record was really fun to make, and it’s crazy how it went from hearing a K4mo intro in the studio with Fred Again, to me jumping on it and then Diplo hopping in! And Walshy hitting me up to say it’s a banger—next thing Nicki is on it! Been a journey really, like two years in the making and I can’t wait to perform it at my next festival!”

Press play on the video above to hear “Oh My Gawd.”

Ty Dolla Sign is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Trippie Redd continues his extremely productive year with the help of Busta Rhymes for their new collaboration, “I Got You.” While the song may sound like an original composition at its start, Trippie’s hook quickly catches the ear as it samples Busta Rhymes and Mariah Carey’s classic 2000s record, “I Know What You Want.” Trippie lays a smooth hook that, for the most part, follows the original song. After laying his own verse and the song’s chorus, Busta Rhymes steps though for a slick-talking verse before Trippie closes with his interpolating hook. Paired with a visual, the video takes a place at Pegasus High School, which references the title of Trippie’s upcoming project. In it, Busta plays Trippie’s OG and asks the young rapper for a favor after making a visit to the high school. He asks Trippie to help him find his long lost lover who so happens to be the mother of Trippie’s love interest. He agrees to help Busta and after a typical day at the high school, Trippie completes the job when he drops off his lady at her house where he finds her mother waiting for her.

“I Got You” follows Trippie’s “Excitement” track with PartyNextDoor which he released back in May. Shortly after, the two artists reconnected for the song’s video, one that found them lost at sea and actively searching for a way back to safety. In addition to “Excitement,” Trippie also shared another single with “Dreamer,” a track he released to celebrate his 21st birthday in June and followed up with a techincolor visual that portrayed him as an eccentric rockstar.

Trippie Redd began the year by releasing the deluxe version of his A Love Letter To You 4 project. The reissue added eight new songs and guest appearances from Young Thug, Chance The Rapper, and more to the chart-topping release.

Listen to “I Got You” above.

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

Almost nine years after their first single “Titanium,” which would top the charts and reach double-platinum certification, David Guetta and Sia have reconnected for their latest collaboration, “Let’s Love.” The track aims to motivate listeners to get through the turbulent times and overcome the obstacles life presents over the dance-provoking and lively anthem. “We’ll get through it all together,” Sia promises on the song, “Let’s love.”

“During this time of isolation, I’ve been incredibly inspired to release music that has an uplifting energy,” Guetta said in a press release about the song. “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.”

The song is Guetta’s first release since his New Wave EP with Morton from earlier this year. “Let’s Love” is also the latest addition to a long list of tracks between Guetta and Sia which includes “Wild One Two,” “She Wolf (Falling to Pieces),” “The Whisperer,” “Bang My Head,” “Helium,” “Flames,” and “Light Headed.” As for Sia, the pop singer has been fairly active this year with her last release coming at the end of last month with “Riding On My Bike.” Other 2020 releases for Sia include “Saved My Life” and “Together.”

Press play on the video above to hear “Let’s Love.”

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

The Houston Rockets were downright abysmal in the first three quarters of Thursday night’s loss to the Lakers in Game 4, as a fourth quarter rally wasn’t enough to overcome a 23-point L.A. lead in the final period. The loss put Houston in the unenviable position of facing a 3-1 deficit to one of the league’s best teams, and their lack of energy and poor effort to open Game 4 was befuddling to many given how important it was to even the series to have a chance.

The one constant for the Rockets in the Bubble has been that energy and effort, as it’s the only way they have a chance playing their frenetic, small-ball style. That it wasn’t there in a virtual must-win was disheartening to say the least, and after the game, no one seemed to know why that happened.

James Harden was asked about the Rockets coming out flat first, and simply responded “good question” before awkwardly sitting there and awaiting the next question.

Russel Westbrook was more willing to speak on Houston’s lack of energy, but likewise had “no explanation,” expressing his frustration with the entire situation.

Harden and Westbrook combined for 46 points in Game 4, but both were prone to lapses of their own. Harden was dreadful in the first half, while Russ’ shooting and turnover woes continued. Houston’s dealing with an awkward circumstance with Danuel House currently sitting out as the NBA investigates him potentially breaking Bubble protocol, but that’s no excuse for the effort level shown on Thursday.

Saturday is, truly, a must-win, as they will head home from Orlando with a loss, and even if they have no answers for Thursday’s performance, they’ll have to find a way to make sure it at least doesn’t happen again come Game 5.

After early rumors of a possible collaboration between Travis Scott and McDonald’s left fans to wonder what was in store, the two made the big reveal earlier this week and announced their new partnership. Just days after revealing the first wave of their collaboration, Scott and McDonald’s return with the second collection of merchandise. Fans can now choose from an array of t-shirts, hats, and hoodies, a keychain, a pair of house slippers, and much more.

The first collection of merchandise in Travis Scott and McDonald’s partnership was much more diverse that the second. The initial group featured expected merchandise items like hoodies, shorts, pants, hats, and socks, as well as some more unique items like a basketball uniform, a tie, three different rugs, a basketball, styrofoam cups, a cardboard cutout of a Travis Scott action figure, and a McNugget-shaped body pillow. Upon its arrival, fans took to social media to share their reactions which ranged from positive to negative to just flat-out confused.

Travis Scott and McDonald’s partnership began with the fast-food chain announcing the “Travis Scott Meal,” which is a slightly-altered Quarter Pounder With Cheese meal, in a commercial featuring the Houston rapper as an action figure.

Travis Scott’s and McDonald’s second collection is available for purchase on Travis’ website here.

The Los Angeles Lakers dominated the proceedings for more than three quarters on Thursday evening, outlasting the Houston Rockets by a final score of 110-100 to take a 3-1 series lead in the Western Conference Semifinals. While the Lakers unquestionably took their foot off the pedal in the closing period, it was an emphatic win for the top-seeded squad.

With that as the backdrop, here are three takeaways from Game 4 that could inform Game 5 (and beyond).

1. The Lakers got important contributions from a bevy of supporting pieces

As usual, the Lakers were led by LeBron James and Anthony Davis, though James wasn’t quite as dominant as usual. The future Hall of Famer finished with “only” 16 points, missing all five of his three-point attempts, but James did add 15 rebounds and nine assists to match 29 points and 12 rebounds from Davis. Still, it wasn’t a game that was headlined by the leading duo to the degree of many others, with the Lakers receiving tangible help from their supporting cast.

In a stunning development, 19-year-old wing Talen Horton-Tucker made an appearance in the first half, playing seven minutes and scoring five points to go along with two steals.

Elsewhere, Alex Caruso enjoyed one of the best games of his career, including a stretch in the early portion of the second quarter in which he fueled a 7-0 run with four points, a block, a steal and an assist.

Caruso finished with 16 points in 30 minutes, but it was an all-court effort from the 6’5 guard. He was put in tremendous defensive work, knocked down shots (including the eventual dagger late) and found open shooters.

The higher-paid supporting pieces were also strong for Los Angeles, with Danny Green scoring 10 points and providing two-way play. Finally, Rajon Rondo enjoyed another impactful game, channeling “Playoff Rondo” with 11 points, 10 rebounds and eight assists in 29 minutes.

All in all, it was a strong effort from the Lakers, but it certainly wasn’t all about AD and LeBron on this night.

2. Houston is in deep trouble, but they have to shoot more threes

For three-plus quarters, Game 4 was a dismal performance from Houston’s offense. The Rockets made things competitive with an admirable push in the fourth quarter but, in an overall sense, there was plenty to criticize, headlined by a game plan that doesn’t jive with the team’s strengths.

In the first half, the Rockets had almost as many turnovers (9) as three-point attempts (13) and, through three quarters, Houston made a bit of unenviable history with a lack of fastbreak and second-chance points.

Houston (mercifully) tallied a fastbreak bucket in the fourth quarter but, for a team built entirely on a small-ball approach, they simply didn’t shoot enough three-pointers yet again. The Rockets did end the night with 33 long-range attempts and, from a distance, that might look fine through a normal NBA lens. However, Houston shot 51 threes per game against Oklahoma City in the first round and, in the regular season, the Rockets led the league by four full attempts per game at 45.3.

In the first half, the Rockets went just 3-of-13 from long range and, while the second half was better, that is simply not a recipe they can afford to follow. It is very difficult to win without heavy three-point deployment, especially when the Rockets produced nothing on the offensive glass or in transition, and Houston’s roster construction is such where they simply have to play the numbers game against a big, physical Lakers team.

It certainly didn’t help that James Harden converted only two field goals in the entire game but, even if he had it going, the Rockets still need to play to their strengths.

3. No center, no problem for the Lakers

For most of the first three games, the Lakers played without a center on the floor. JaVale McGee played 27 minutes and Dwight Howard played 11 minutes, with Los Angeles quickly shifting away from both veterans in favor of Anthony Davis or Markieff Morris in the middle. In Game 4, Frank Vogel didn’t even wait, starting Morris alongside Davis and eschewing McGee and Howard entirely.

It is jarring to see that, even without a center, the Lakers utterly dominated on the glass, holding to the Rockets to one single offensive rebound and grabbing a 52-26 overall rebounding advantage. Los Angeles struggled, at least relatively, with McGee (-2 in 27 minutes) and Howard (-8 in 11 minutes) on the floor, but going smaller is a luxury that the Lakers have because, well, they are still bigger than the Rockets.

Davis is a center-sized entity in the modern NBA and, while P.J. Tucker does a fantastic job against him all things considered, the Rockets didn’t have any answers in this game. The Lakers are certainly giving up a bit of rim protection, but Houston is also playing directly into their hands by not firing away from long distance. If Los Angeles can continue to maintain complete control on the glass and in the paint, all while keeping the Rockets away from the three-point line, this series likely ends in five games.

Chloe x Halle’s 2020 has been quite impressive and on Thursday night, with less than three months left in the year, the R&B duo added another big moment to their résumé. Heading to the center of an empty stadium, Chloe x Halle delivered a socially distant performance of the national anthem to kick off the NFL’s new season prior to the Kansas City Chiefs vs. Houston Texans game. They used the big moment to bring awareness to two of the many names lost at the hands of police brutality, with Chloe Bailey wearing an airbrushed t-shirt with Breonna Taylor’s name and face on it. Meanwhile Halle Bailey wore a similar tee bearing George Floyd’s face and name.

Chloe x Halle’s performance comes after they delivered a futuristic and dazzling performance of “Ungodly Hour” at the MTV VMAs. Prior to that show, Chloe x Halle stopped by Jimmy Kimmel Live! to give yet another thrilling performance of “Do It,” a song that has become their most successful release to date.

On a more recent note, Chloe x Halle released a “Do It” remix last week with guest verses from Doja Cat, Mulatto, and City Girls.

You can watch their national anthem performance in the video above.

When San Francisco 49ers quarterback Colin Kaepernick started sitting during the national anthem—and then kneeling at the suggestion of a veteran—in 2016, he pushed the conversation about racial justice and police brutality into the U.S. mainstream. Some loved him for it, some hated him for it, but there’s no question that he got everyone talking about it.

However, widespread support for his message didn’t come until this year. As racial justice protests exploded across the country and spread throughout the world this spring, a distinct societal shift occurred. And as sports have started making a pandemic comeback, more and more athletes have loudly raised their voices for racial justice. Where we had seen a handful of individual athletes kneel during the anthem, we now see entire teams in various professional sports making powerful statements supporting the Black Lives Matter movement. The NFL itself has come out and publicly admitted they were wrong to try to get players to stop kneeling during the anthem.

Tonight is the first NFL game of the season, Kansas City Chiefs vs. Houston Texans. The teams has announced that they were going to do something special to make a unified statement on equality.

First, twin singers Chloe x Halle sang an absolutely gorgeous rendition of the national anthem, while also making a powerful statement with their clothing. One of the singers wore a t-shirt with George Floyd’s face and the words “Rest in Power/George Floyd” and the other wore a shirt with Breonna Taylor’s face with “Say Her Name/Breonna Taylor” written above and below it.

As the pre-recorded anthem was played, many of the Chiefs players stood arm in arm, while one player knelt with his fist raised. The Texans chose to remain in the locker room until after the anthem was played.

Before kickoff, the teams met in the middle of the field for a “moment of unity” dedicated to the ongoing fight for equality in our country. As the teams stood, seven phrases that were chosen and agreed upon by the players were displayed on the videoboards within the stadium:

– We support equality

– We must end racism

– We believe in justice for all

– We must end police brutality

– We choose unconditional love

– We believe Black lives matter

– It takes all of us

Unfortunately, it sounded like many of the fans booed during the moment of unity. It definitely wasn’t silent.

It’s clear that we still have a long way to go, and as the movement toward racial justice and true equality advances, there will be backlash, just as there always has been. But at least we’re seeing it front and center now, even if it pisses some people off. No one can turn a blind eye and ignore it now. And it’s up to each of us to decide what side of history we’re going to stand on.