In the time between getting nominated for Best Film and Best Director at the Independent Spirit Awards and shooting a freaking Marvel movie, Chloé Zhao hit the road with Frances McDormand and made a possible Oscar contender. No biggie.
Nomadland is the latest feature from Zhao, who was tapped to direct Eternals, the 25th film in the Marvel Cinematic Universe, following the breakthrough success of The Rider, a story of masculinity in crisis. She cast two-time Oscar winner McDormand as Fern, a 60-something factory worker who travels through the American West in a van to find a job. Searchlight Pictures submitted Nomadland to all the major film festivals this fall — Venice, Telluride, Toronto, and New York — which means distributor Searchlight Pictures expects big things next February on Oscar night. And if Zhao and/or McDormand do win, I hope they share this delightful story from the Hollywood Reporter.
Three months after she accepted the Oscar for best actress in a gold-hued gown, Frances McDormand was spending the night in an Econoline van in Chloé Zhao’s driveway in Ojai, regretting her decision to eat barbecue for dinner… That night in Zhao’s driveway, they had met up to figure out some practicalities of shooting in the confined space, where McDormand was going to sleep for character research. As her stomach rumbled, Zhao gently reminded the actor, “You wanted spicy chicken wings…”
McDormand continues. “And so, I literally experienced the worst, not maybe the worst thing, but a not-very-pleasant thing that could happen,” McDormand says. “I took a dump in the 5-gallon bucket. But it also was really great because we filmed some stuff.”
Now that’s method acting. Nomadland (watch the teaser trailer above) is scheduled to come out on December 4, followed by Eternals on February 12, 2021.
Chloe and Halle Bailey of the R&B duo Chloe x Halle have had an immensely busy year thus far. Just a few months ago, the sister pair released their sizzling sophomore album, Ungodly Hour, and have since found clever ways to stage at-home performances on Jimmy Kimmel Live! and the 2020 MTV VMAs pre-show. The two even tapped Doja Cat and Mulatto to lend verses on a revved-up remix of their hit “Do It.” But that’s not all they have in store for this year. Halle recently revealed she has begun recording the soundtrack to Disney’s upcoming live-action reboot of The Little Mermaid after she landed the lead role as Ariel.
While the pandemic has surely halted some production, that hasn’t stopped Halle from working on the upcoming film’s soundtrack. A recent interview with Cosmopolitan confirmed Halle is already in the soundtrack’s recording process. “Whenever individual opportunities come, it’s exciting because when one of us wins, the other one does too,” Halle said about the upcoming project.
Last year, The Little Mermaid‘s director Rob Marshall confirmed Halle’s casting and said, “After an extensive search, it was abundantly clear that Halle possesses that rare combination of spirit, heart, youth, innocence, and substance — plus a glorious singing voice — all intrinsic qualities necessary to play this iconic role.”
After days of rumors, McDonalds and Travis Scott recently confirmed that they are in fact collaborating. The two announced the Travis Scott Meal would be available at the restaurant soon, and McDonald’s promised that news would be “the first of many surprises and new releases planned with Travis in the coming weeks.” The meal is available starting today (September 8), and Scott appears in a new commercial for it, bringing back the action figure version of himself from his Rodeo album art.
The ad begins with a shot of a McDonald’s meal on a tray before the plastic Scott lands in frame, saying, “What’s up, world? Yeah, you! I’m Travis Scott, and this is my McDonald’s order.” He then walks through the meal, which features a Quarter Pounder sandwich with cheese, bacon, and lettuce, as well as fries with barbecue dipping sauce, and a Sprite. He continues, “Same order since back in Houston, and you can try it, too.” Scott ends the spot by saying the campaign’s slogan, which McDonald’s also tweeted today: “Say Cactus Jack sent you.”
What else is set to emerge from this campaign is yet to be seen. While rumors suggested there would be exclusive merch, McDonald’s confirmed that Scott designed custom clothes for McDonald’s restaurant employees to wear during the promotion. So, it is unconfirmed whether or not some sort of Scott/McDonald’s merch will be available for consumer purchase, or what else might be on the way.
Although Burning Man went fully digital this year, some Burners still spent their labor day weekends in Nevada’s Black Rock Desert, opting for an unconventional, socially distanced, unofficial burn. Though, let’s be real — once that combination of psychedelics and desert delirium takes hold, the Burners brave enough to make it out to BRC in the middle of a record-breaking heatwave and global pandemic don’t seem particularly likely to be worrying about COVID-19.
While this Burning Man wasn’t affiliated in any way with the festival’s usual organization, that didn’t stop Burners from dressing up like post-apocalyptic warriors, driving mutant freak vehicles, and lighting stuff on fire.
According to the Reno Gazette Journal, the weekend’s event — officially dubbed “Not Burning Man 2020” — drew a crowd of about 1,000 to 2,000 campers who gathered on the playa and burned smaller wooden effigies in place of one large Burning Man sculpture. The event’s main figurehead — a nearly 30-foot tall structure that Burners spent the weekend decorating — was toppled at the weekend’s close so that Burners could take debris and burn it at home (though some Burners waited until the authorities left for a final blaze on the playa floor).
We gathered some photos from the weekend’s festivities, which — to their credit — show a mostly solitary, socially distanced Burn. And while gathering large groups of people in a small space is absolutely ill-advised, this looks very little like the Smashmouth-starring Sturgis rally. Was there still at least one culturally appropriated headdress wearer in attendance? You’d better believe it.
Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.
Over the last 30 years, we have been luck enough to witness Bill Callahan’s personal and artistic evolution, from the indirect lo-fi songwriting of his Smog project, to the lush and thoughtful recent solo output. On Gold Record, his latest release after the 2019 double album Shepherd In A Sheepskin Vest, Callahan is focused on topics that “invite a kind of earnestness and even sentimentality that would have been inconceivable when he first started making albums in his 20s,” writes Steven Hyden for Uproxx.
Lomelda – Hannah
For her fifth LP under the name Lomelda, Hannah Read wouldn’t settle for anything less than perfection. The album was recorded and re-recorded in its entirety upwards of three times before Read and her brother/producer Tommy Read got everything just right. The resulting Hannah is a more expansive effort than we’ve heard from Lomelda in the past, with polished production and poignant songwriting that moves seamlessly between insular moments and full-band explosions.
Mike Huguenor – X’ed
You might recognize Mike Huguenor from his work in Jeff Rosenstock’s band, Shinobu, Hard Girls, and more. X’ed is his first proper solo album, and was composed using nothing but guitars. All of the instrumentals on the album were created by two acoustic guitars and one electric guitar, making X’ed one of the most exciting and unconventional albums of the year.
Royal Green – Royal Green
Although The National are not slated to be releasing music in 2020, the members have been keeping more than busy. Aaron Dessner worked with Taylor Swift on Folklore, Matt Berninger has a new solo album out in October, and now the band’s drummer Bryan Devendorf has released his debut solo album under the name Royal Green. The album takes on a more electronic, experimental approach, and features contributions from Aaron Dessner and Muzz’s Josh Kaufman. The eight-song effort showcases Devendorf’s individual strength as a songwriter, with each track containing multitudes of instrumental and lyrical depth.
Hannah Georgas – All That Emotion
Speaking of Aaron Dessner, he is also a collaborator on Hannah Georgas‘ gorgeous new album All That Emotion. It’s a poignant record that is rooted in a “grass is always greener” mentality with lyrics that pack a punch, delivered through dreamy, ethereal vocals that float atop pulsing indie-pop instrumentation.
Total Revenge – Total Revenge
The ever-prolific Ryan Pollie is back with another album, this time under the name Total Revenge. The lo-fi punk project’s debut self-titled album packs a lot of melodic punch into the crunchy instrumentals, with crashing percussion that proves high-end recording equipment is less imperative than a simple knack for strong songwriting.
Adrianne Lenker – “Anything”
While Big Thief has been more or less quiet during 2020, Adrianne Lenker isn’t showing any sign of slowing down. “Anything” is the first single from her new album Songs, which will be released in conjunction with another album called Instrumentals. Like most tracks Lenker puts out, “Anything” is what Derrick Rossignol calls for Uproxx “a lovely and delicate folk tune.”
Anohni – “It’s All Over Now, Baby Blue” (Bob Dylan cover)
It’s been nearly four years since last got a full-length project from Anohni, but now she is back with a pair of covers. Most notably is her lo-fi take on Bob Dylan’s cryptic track “It’s All Over Now, Baby Blue,” which was originally released on Dylan’s 1965 album Bringing It All Back Home, and may or may not be about his breakup with Joni Mitchell. Regardless of the song’s original intentions, Anohni said in a press release that it reminded her of the current moment and felt more relevant than ever.
Kevin Morby – “Campfire”
Not even a year since releasing Oh My God, Kevin Morby is back with another new album. “Campfire” prefaces Sundowner, the songwriter’s sixth album, and epitomizes the record’s recurring themes as “a depiction of isolation. Of the past. Of an uncertain future,” according to a statement. Sonically, Morby’s vocals take on a Dylan-esque drawl, all the while boasting a strong, resonant chorus.
Gus Dapperton – “Medicine”
After capturing people’s attention with a bedroom pop EP in 2017, Gus Dapperton is taking a slightly different approach to Orca, his sophomore LP. “Medicine” is emblematic of Dapperton’s focus on “honing his sound and shifting to more introspective, moody pop ballads” for the new album, writes Carolyn Droke for Uproxx.
Hundredth – “Bottle It Up”
After making the shift from hardcore punk to shoegaze on their 2017 album Rare, Hundredth are back with another attempt at a sonic shift. “Bottle It Up” takes on a more indie-pop approach that sounds more like Tame Impala than Converge, once again putting the South Carolina-based band’s impressive versatility on full display.
Eastwood – “I (Don’t) Need You”
Eastwood is the indie side project of Cole Crutchfield, best known as the guitarist of hardcore heavyweights Knocked Loose. Crutchfield takes a much more mellow and calculated approach to Eastwood, taking nearly four years to put all the pieces together for the band’s proper debut release, It Never Gets Easy. If “I (Don’t) Need You” is any indication, all of the hard work paid off.
Anjimile – “In Your Eyes”
With his debut full-length project Giver/Taker slated for release in just a few short weeks, Anjimile has shared another preview. “In Your Eyes” takes on a more laid-back approach than some of the other groove-driven tracks we’ve heard so far. “Over enveloping acoustic melodies, Anjimile delivers a soothing reflection on coming to terms with his identity,” writes Carolyn Droke for Uproxx.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Back in October 2019, The Boys showrunner Eric Kripke teased fans on Twitter with the information that Patton Oswalt filmed a “secret role” for the hilariously violent Amazon series. A little under a year later, Oswalt’s role was revealed when the first batch of season two episodes debuted on the streaming platform, and well, it was a choice.
While tripping on hallucinogenic mushrooms in episode two, Chace Crawford’s The Deep was forced to confront his tormented feelings over his gills, which now had a voice. Specifically, Oswalt’s. While sitting down with Polygon, Kripke opened up about how he was faced with a series of decisions over how to best animate The Deep’s talking gills, which he had a more colorful name for, and how he originally wanted the CGI fish lungs to be voiced by Helen Mirren. When that didn’t work out, Kripke turned to Oswalt, who had professed his love of the show, and got the wheels spinning.
“I started thinking, ‘Wouldn’t it be great if, like, one of Pixar’s most beloved characters was also the voice of The Deep’s mangina?’” Kripke said. But once Oswalt was in the pocket, Kripke was faced with a host of creative decisions. Via Polygon:
“There were a lot of fascinating questions,” Kripke notes. “How much should it spit? Should the gills all be moving in unison, or should they be saying different things at different times? Talking about a talking mangina is all very complicated.”
So far, Oswalt’s talking gills have only appeared in the second episode of the newest season, but we wouldn’t be surprised if the comedian’s voice pops up again down the road. Especially with The Deep’s journey focusing heavily on accepting his chest… mangina? That still doesn’t sound right.
The 20-year-old Beabadoobee has done a lot with just a pair of EPs under her belt, but now she’s readying her debut full-length. She has shared some previews of Fake It Flowers in recent days, and today she returns with another, the rocking “Worth It.”
Like other previews of the record, “Worth It” borrows its aesthetic from guitar-driven ’90s indie-rock, although it manages to avoid sounding old and played out while doing so. Beabadoobee says the song is “simply about teenage infidelity and the mistakes one can make when they’re tempted to do things.” She continues, “It’s a bit of a confession song but also an understanding that it’s a part of life.”
Beabadoobee, like almost everybody else in the music world (but not Smash Mouth), will not be performing for live audiences this summer. She’s trying to next fall, though, as she has announced a string of UK and Ireland tour dates for September and October 2021.
Listen to “Worth It” above, and find Beabadoobee’s tour dates below.
09/07/2021 — Manchester @ O2 Ritz
09/09/2021 — Leeds @ Beckett University
09/10/2021 — Nottingham @ Rescue Rooms
09/11/2021 — Birmingham @ O2 Institute
09/13/2021 — Cambridge @ Junction
09/14/2021 — Leicester @ O2 Academy
09/23/2021 — London @ O2 Forum Kentish Town
09/24/2021 — Bristol @ Swx
09/25/2021 — Oxford @ O2 Academy
09/28/2021 — Dublin @ The Academy
09/29/2021 — Belfast @ Oh Yeah Music Centre
10/02/2021 — Newcastle @ University Students Union
10/03/2021 — Edinburgh @ The Liquid Room
10/04/2021 — Glasgow @ Swg3
Fake It Flowers is out 10/16 via Dirty Hit. Pre-order it here.
Inside the NBA is, in my estimation, the best sports studio show of all time, in large part because all four members of the crew fully understand that there will be times where things will veer away from talking about basketball and into god knows what. There are many examples of this leading to conversations about legitimately heavy subjects, but this will also veer into being able to laugh at themselves, too, so long as things are not too mean-spirited.
An example of this came on Monday night after the evening’s slate of playoff games. One video you may have seen going around the internet at some point over the last few years is a British weatherman flawlessly pronouncing a town in Wales that consists of 58 letters, but if you have not, here it is.
The town, which is on the Isle of Anglesey, boasts the second-longest name of any town on earth, behind only New Zealand’s Taumatawhakatangihangakoauauotamateaturipukakapikimaungahoronukupokaiwhenuakitanatahu. Perhaps we’ll see someone on set try to pronounce that some day, but on Monday, Shaq gave his best go at pronouncing Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch. You can probably guess how that went.
Netflix announcements tend to be slightly controversial, which is probably to be expected, given that the streamer boasts over 180 million subscriber accounts and counting. You can’t please everyone, and remember when the “speed up” feature was originally floated? Boy, some folks were not happy, but Netflix probably won’t find any opposition to a new revelation from CEO Reed Hastings in a Variety interview.
According to Hastings, Netflix has resolved to rely upon their subscription-focused strategy instead of introducing ads (like Hulu has done with a tiered pricing format). This news follows a little over two years since Netflix reportedly tested ads between episodes, and I guess those tests didn’t go well. Yet Hastings believes that they simply don’t want to fix what’s not broken. Also, Hastings said, “It’s hand-to-hand combat to get people to spend less on, you know, ABC and to spend more on Netflix.”
The CEO also made a rather amazing claim about 2021 Netflix original content, which does not appear have been upended (on a massive scale, anyway) by the pandemic:
Next year, we’ve planned out the year — we’ve got a great selection of content. It’s still more originals than this year. It’s not up by as much as we first forecast, but it is up on a year-over-year basis. Of course in Europe we’re producing, in Asia we’re producing. We’re all hopeful for a vaccine, so we can get back to more intensive work..
It sounds like several shows, like The Witcher, may have been pushed back a few months due to stopping production earlier this year, but Henry Cavill and company are back to work in Europe, unflattering photos and all. As for office-related matters, Hastings spoke with the Wall Street Journal and expressed his distaste for working at home. He plans to get the Netflix staff back into buildings as soon as it’s feasible. As he initially (and jokingly) said, it’ll happen “12 hours after a vaccine is approved.” In reality, Reed’s thinking it’ll happen “probably six months after a vaccine… once we can get a majority of people vaccinated.”
Juicy J and DJ Paul have reportedly hit Suicideboys members Ruby Da Cherry and Scrim with a copyright infringement lawsuit over their alleged use of uncleared Three 6 Mafia samples.
According to XXL, Juicy and Paul originally filed the copyright infringement lawsuit back in late June against Cherry and Scrim for “illegally sampling and stealing” from 35 songs belonging to Three 6. The lawsuit claims Cherry and Scrim used the unauthorized samples in order to “trade off and profit from Three 6 Mafia’s original sound and hard-earned success in the hip-hop industry.” The lawsuit documents references the Suicideboys tracks “Mask And Da Glock,” “Smoked Out, Loced Out,” and “BreakDaLaw2K16,” all of which feature nearly identical instrumentals to Three 6 songs.
Juicy J and DJ Paul are seeking $1.2 million from the case for “compensatory and actual damages, including [d]efendants’ profits from infringement, in an amount in excess of $1,200,000” as well as $5.25 million for other damages. Suicdeboys don’t deny they used Three 6 instrumentals in their music, but they do state Juicy J gave them “verbal” permission to use the tracks in exchange for production work on Juicy’s Highly Intoxicated and Shutdaf*ckup mixtapes, which they allege the rapper never compensated them for.
Ahead of the lawsuit’s report, Juicy J sat down with Uproxx and discussed the possibility of Three 6 making a comeback: “I always felt like Three 6 Mafia could make a comeback. But it always had me kind of nervous and scared to even do that. Because we’ve done so much in music that I didn’t want it to be like, ‘Aw, they’re not good enough.’ Or ‘Aw, they got old.’ Or they’re not creative like they used to be or things ain’t the way they were. We never really went down that road to bring the group back.”
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
