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Reneé Rapp, who is quickly becoming one of our leading celebrities, called for an immediate ceasefire in Gaza during the 35th GLAAD Media Awards on Thursday.

While accepting the award for Outstanding Music Artist, the “Not My Fault” singer and Mean Girls star said, “We’re in a room of very influential people, very privileged people, which is exciting and also a huge privilege to be a part of that,” she said. “Having said that, I’d like to take the opportunity to show support and call for an immediate ceasefire and permanent ceasefire in Gaza.” She urged all the famous people attending the ceremony to “continue to advocate for yourselves, continue to advocate for your friends, your queer friends and for those who can’t advocate for themselves.”

To date a number of other celebrities have also called for a ceasefire, including Gigi and Bella Hadid, Susan Sarandon, Kehlani, The Weeknd, Annie Lennox, Hunter Schafer, Hozier, Pedro Pascal, Angelina Jolie, Mark Ruffalo and Boygenius.

Rapp also reflected on her coming our journey at the GLAAD Media Awards. “Living as my authentic self and as an out queer artist and a lesbian most recently is the most rewarding, validating, scary, and exciting experience I’ve ever had,” she said. “The creatives in the room know that we couldn’t do it without GLAAD. Thank you, GLAAD for helping the world see us as we are. It means a lot.”

You can watch the speech below.

Thanks to fierce pushback, FKA Twigs was seemingly able to reverse the UK’s ban on her Calvin Klein campaign. Unfortunately, in life, everything’s not as easily mendable. For The Crow star, there are still years-old traumas whose impact can still be felt to this day. Yesterday (March 14), the “Killer” singer opened up to Vogue UK about those ongoing battles.

During the chat, FKA Wigs claimed that the abuse she allegedly endured throughout her relationship with Shia Lebouf has had a lingering physical and emotional effect on her. “I’d be sad for six months to a year, and then one day, I’d wake up, and everything would be fine,” she said. “But the fact is being abused changes the whole of your nervous system.

The supposed suffering has made FKA Twigs more vigilant in relationships since their 2019 split. “[My] window of tolerance is now much smaller than it used to be,” she said.

In December 2020, FKA Twigs filed an explosive lawsuit against Labeouf. The filing accuses Lebeouf of “relentless abuse,” including sexual battery, assault, and infliction of emotional distress throughout their relationship, which spanned from September 2018 to May 2019.

Initially, Labeouf denied FKA Twigs’ claims. However, while speaking with Jon Bernthal on his podcast Real Ones in 2022, Labeouf seemingly confirmed several parts of FKA Twigs’ damning statements. The case is still pending.

At long last, Rick Grimes has returned to The Walking Dead realm in The Ones Who Live, and there’s certainly a vocal fanbase that has been enjoying the breathlessness of Grimes’ ongoing reunion with Michonne. Will this allure be enough to warrant a second season for this spin off?

The simple answer to that question that there is no answer. However, Dead City and Daryl Dixon both received second-season renewals (with the latter transitioning into The Book Of Carol), so it would feel almost unheard of for the the daddy of them all to not receive another helping. Speaking to The LA Times, co-creator Scott Gimple is keeping it cryptic:

No decision has been made yet about a second season — “anything can happen,” Gimple said — and it remains unclear whether fan interest in the franchise is capable of surmounting the structural challenges facing basic cable in the long run, especially as AMC lacks a streaming partner with the scale of Hulu, like competitor FX has.

That latter sentence seems telling on a broader note, since Hulu and FX’s partnership has led to wildly popular, multi-season sensations including The Bear and Reservation Dogs, but AMC is not to be written off, especially with their history of beloved dramatic series including Mad Men, Breaking Bad and a wealth of planned series in the making. So, fingers crossed that Rick and Michonne make their way home and perhaps receive a second dose and an overarching reunion season.

(Via LA Times)

Love Lies Bleeding has been racking up rave reviews, which has only increased interest in the noir love story starring Kristen Stewart and Katy O’Brian. The film was already on the top of several Must See lists, but if you’re hoping to catch it soon on streaming, it’s gonna be a bit.

When Will ‘Love Lies Bleeding’ Be On Streaming?

Considering Love Lies Bleeding just opened in theaters, the earliest it would arrive on VOD for rent or purchase is late April, if not early May. Going by The Iron Claw, the current release window for A24 films is roughly 45 days between theatrical and digital.

A24 also re-upped its exclusive streaming deal with Max, but that’s going to be an even longer wait. The Iron Claw hit theaters in late December, and it’s still not available for streaming on Max as of this writing. According to Forbes, it won’t arrive on the service until April or May, which is nearly a four-month wait.

If Love Lies Bleeding follows a similar strategy to The Iron Claw, it won’t start streaming on Max until mid-July.

Here’s the official synopsis:

From director Rose Glass comes an electric new love story; reclusive gym manager Lou falls hard for Jackie, an ambitious bodybuilder headed through town to Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family.

Love Lies Bleeding is now playing in theaters.

France has done a pretty good job at churning out centers who dominate on the defensive end of the floor. For years, the NBA’s most imposing paint protector has been Rudy Gobert, and while he’s still as good as anyone in the league at doing that, Victor Wembayama is going to take that title sooner rather than later. Already in his rookie year, Wembanyama is a marvel on defense, as he uses his size, length, and athleticism to protect the rim and jump passing lanes like few we’ve ever seen.

It’s very hard to see a future where Wembanyama isn’t named the NBA’s Defensive Player of the Year during his career, but this year, Gobert is the favorite to earn that award for the fourth time. Wembanyama got asked about this recently, and while he admitted he’d be happy to see Gobert win the award this year, he made clear that he’s coming for it going forward.

Wembanyama did chuckle as he said that Gobert’s turn is going to be over soon, so it’s very possible this was a joke that he felt comfortable making because it’s his national team teammate. Having said that, he is also correct and he made clear that he wants to win DPOY during his career, so we wouldn’t be surprised if he enters next year as the NBA’s favorite to win the award.

It was Monday night, the night after the Academy Awards, feeling tired but also thrilled we could stop talking about the same ten movies that I decided, yes, I wanted to watch a movie. When the pandemic started here in New York City four years ago this week, I started a list of “movies I’m embarrassed I had never seen.” According to Letterboxd, as I type this – since March 14, 2020 – I have watched 1597 movies. Of these, 1080 have been first-time watches. (This is not a perfect science. Sometimes I forget to hit the “I’ve seen this before” button. Also, a good percentage of those would be new releases.) I mention this because I’ve been pretty motivated to watch movies I’ve never seen before over recent years. Anytime I feel guilty about not having seen a classic movie, I tell myself, “You know, if I watch right now, that feeling will be gone.” It gives me a sense of accomplishment. There’s still plenty I’d like to see, and will, but it’s gotten to the point I’m running out of movies I truly feel guilty having not seen.

Anyway, on Monday night I watched Kindergarten Cop on cable, a movie I’ve seen at least a dozen times. I watched it because it was on. It’s still my favorite way to watch movies.

Five years ago I wrote about the impending death of the random cable movie. At the time, it certainly looked like streaming was about to make cable television obsolete. Then, once the pandemic happened, studios went all in on streaming. This was mostly out of necessity, but the gradual changes that were happening were implemented almost immediately with seemingly unlimited amounts of money of support and … the future of streaming looks a lot more unclear now. And cable bundled with internet service remains my most affordable option – especially with Max, Paramount+, and Disney+ all included with my subscriptions.

And for whatever reason, streaming hasn’t been able to replicate the feeling of flipping through hundreds of channels and then going, “Ohhh, Kindergarten Cop is on,” and it already being halfway over. What’s weird is, when I’m in a “whatever is on cable,” mood, I really don’t want to watch a movie from the very beginning. Wherever it happens to be is fine. Goodfellas plays on a never-ending loop on cable. At this point it’s not surprising Goodfellas is playing, the surprise now is, “Oh, what part are we at?” Because of this, sometimes I wind up watching a movie I’ve seen many times, but not in full in quite awhile, and the first ten minutes feel unfamiliar because I so rarely see that part. I bet the stats on how many times I’ve seen the beginning of Weekend to Bernie’s compared to the ending would be startling. I bet it’s something like two times to 50 times.

(Scorsese movies are always a good example of this. Goodfellas, Casino, The Departed, and even The Aviator, and Shutter Island are on all the time. As long as cable exists, these movies will never go away. If The Irishman or Killers of the Flower Moon were on cable, I’d watch those dozens of times, too. But they aren’t. And I’m never going to go to Netflix or Apple+, respectively, to watch either of those. Because if I’m going to go out of my way to play a movie, it’s going to be something I’ve never seen. The Irishman just feels kind of gone because it’s never “on television” and, now that the Oscars are over, I suspect the same thing will happen to Killers of the Flower Moon. They will both just live on one specific different app each on a device that has many, many apps.)

This all came to a head last September when I contracted the novel coronavirus. (Also known as Covid-19.) Yeah, it was pretty terrible. I had it once before and it was basically a cold. This time, it was the worst thing I had ever had in my life – which included ten straight days of a fever. (This is where, undoubtedly, anti-vax people start yelling at me on social media, “Um, if you’re vaxxed, why was it so bad?” The problem was I was long overdue for my booster, but the advice at the time was to wait for the updated booster that would be out in September that protected against the new variant. I caught it before the new booster came out.) Between the fever hallucination, I was in no real position to make decisions about my viewing selections (or anything, really). I just let cable television do that for me.

According to Letterboxd (I barely remember any of this) I watched: Young Adult, Leaving Las Vegas, Road House, Election, The Firm, White Men Can’t Jump, Dragnet, The Karate Kid, Stand By Me, Rain Man, Clockwatchers, and Good Will Hunting. You know what? Not bad! And even at the time, I remember thinking how happy I was that cable movies were still an option. Also, being in bed for a week and a half, being shut off from the outside world … it was strangely comforting to know I was watching all these movies at the same time as other humans. I don’t know why that matters, but for some reason it really did.

Going back to the piece I wrote five years ago, today I’m less sure it’s going away than I was then. It’s just going to be more scattered. Movies like Tombstone and the aforementioned Goodfellas will seemingly play on cable forever and, ergo, live forever. New steamer-exclusive movies like Killers of the Flower Moon and Maestro will disappear. Popular Warner Bros. movies will always pop up on HBO. Popular Paramount movies will always pop up on Showtime. And then movies like Oppenheimer and The Holdovers, both owned by Comcast (Universal and Focus) will do their run on Peacock, then be licensed out to cable, which is smart.

But I wish the streamers like Amazon and Netflix would license out their movies this way. If nothing else just to keep them in the conversation. If I’m flipping through channels and Killers of the Flower Moon were on, I’d get sucked in. Everyone would. Because as long as these movies play on cable, they stick around. All those movies I listed, that I watched while sick, will have a longer shelf life than the original streaming movies that are brand new. Because they are all available for us when we need them most … the day after the Academy Awards or when we are in bed sick for 10 days.

You can contact Mike Ryan directly on Twitter.

Modern Black femme artists are reveling in the spoils of dance music reentering the mainstream, not that it hasn’t been here all along. Staking claim to 1990s house music were vocalists Caron Wheeler, Robin S., Cece Peniston, and Crystal Waters, who often melded gospel tones with club-oriented production. Janet Jackson ruled the dancefloor with energetic choreography, disruptive sounds bespoke to her album-to-album evolution, and lyrics that prioritized her largely queer fanbase. Over time, Black women have seen the futurities of a genre that they shaped and, rightfully, continue to shift.

Breaking new ground for underrepresented dance communities was Beyoncé’s seventh album, Renaissance, which made the music icon the first Black woman to win a Grammy Award for Best Dance/Electronic Album. The masterpiece was Beyoncé’s first dalliance with an album concept of escapism, heard throughout its pulsating, 16-track rush. Post-Renaissance, the dance phenomenon has been ongoing, with Black women bringing the underground to the mainstream field on a grand scale.

The movement will only go further as artificial intelligence, techy aesthetics, counterculture parties and the return of true remix albums take the forefront. Renaissance was just the reintroduction, and perhaps a reawakening, for audiences to sit up and take notice of the contemporary Black female artists who’ve been on the dance music moodboard for years.

Perhaps matriarchal of the progressive Black dance culture resurgence, Kelela envisions an underground nirvana that underrepresented and queer communities can thrive in. Introduced to some as an alt-R&B vocalist who had not one but two guest features on Solange’s 2013 Saint Heron compilation, the D.C. native took shape on her cutting-edge debut mixtape, Cut 4 Me, released just one month before.

Kelela kept pushing creativity within her Warp Records collection, whether brief but potent (Hallucinogen), sexily haunting (Take Me Apart), or a masterclass in nightclub liveliness and comedowns (Raven). On the first anniversary of Raven, the LP got a remix edition, Rave:n, the Remixes, a pastiche to Take Me a_Part, the Remixes, because it isn’t a Kelela album rollout without her highlighting top-notch producers. Leading the new dance frontier with seductive vocals and sounds that bend subgenres, Kelela adventurously forms new worlds.

The music of pop and alt-R&B heroine Tinashe became enshrouded in dance-forward grooves after her 2019 split from RCA Records. Although the singer released three albums with the label, including her 2014 debut Aquarius, which featured the smash “2 On,” Tinashe had creative differences with RCA, along with inadequate promotion. Freed from depending on major label support, 2019 marked the year of reinvention for Tinashe, who channeled her early 2010s mixtape run on her first independent album, Songs for You.

The release was a salve from the choppy rollouts of Tinashe’s prior three albums, as she directly reintroduced the vibes to her fanbase, whom she affectionately calls ‘SweeTees.’ Songs like “Stormy Weather,” “Save Room for Us,” “Die a Little Bit” and “Perfect Crime” leaned on candied dance-pop and electronic, making it a hint towards the preternatural and psychedelic 2021 album 333 and the experimental LP BB/Ang3l, which dropped last year.

Embracing the latest technology – Tinashe used VR headsets in her 333 launch – and maintaining a highly-choreographed aesthetic, she recently brought viewers into her visual album and virtual performance, The BB/Angel Experience. Featured on the rapid new single “Zoom” with electronic/IDM producer Machinedrum, Tinashe’s just getting restarted, and we’re all bearing witness to her infallible ride through the dance space.

Dallas-born and raised artist Liv.e expands her radical take on R&B into hints of electronic and drum and bass on her sophomore album, Girl in the Half Pearl. From neo-soul roots (some liken her style to Erykah Badu, pioneer of the subgenre), Liv.e went from SoundCloud beginnings into groundbreaking status, with GITHP teetering between twitchy ballads and unconventional post-breakup cure-alls.

The LP was an aperture to its own electronic remixed version, GITHPREMIXEDITION, entirely produced by fellow Dallas native Ben Hixon, with Liv.e being tapped as a feature on Kelela’s Rave:n, the Remixes. Putting her own spin on dance, Liv.e makes listeners agog to hear what world she’ll bring us into next.

Overseas, noteworthy Black female artists in the UK are making a statement in dance music, essentially, due to the genre connecting to British audiences at the turn of the ‘90s. Nearly three decades later, we’ve met international sensation PinkPantheress, who found her footing on TikTok, where she hybridized garage, drum and bass, and syrupy hyperpop. Racking up fandom for her loosies on the social media platform offered PinkPantheress worldwide recognition. While she topped the charts with Ice Spice (“Boy’s a Liar Pt. 2”), she hasn’t compromised her energetic and quirky appeal.

Deconstructed club, alt-pop, and grime darling Shygirl opened the doors to Club Shy, her latest EP, where the South Londoner brought the masses into her saucily warped universe. Months before Shygirl unveiled the project, she caught the attention of Beyoncé, who gave her a spot as an opener on a London stop of the Renaissance World Tour. Apart from her Tinashe-assisted single “Heaven,” Shygirl was also on Rave:n, the Remixes, laying claim to the JD. Reid remix of “Holier,” where she traded rhapsodic notes with Kelela.

Skilled junglist, music producer, DJ, and vocalist Nia Archives touches upon drum and bass, and dancehall in her fearless works. She deejayed and freely danced alongside Jorja Smith last year when she dropped her since-viral take on Smith’s “Little Things,” and she’s kept us partying for the last five years. Since giving us a masterclass on breakbeats and global flair on EPs Headz Gone West, Forbidden Feelingz, and Sunrise Bang Ur Head Against Tha Wall, she’ll explore deeper dance terrain on her debut album Silence Is Loud, due next month.

Black women in all scopes of dance music — we’d be remiss not to mention amapiano, industrial, and Jersey club — are elevating it past its outdated boundaries. Motion in the wide-ranging genre will persist as long as we welcome diverse perspectives because the rise in Black femme-forward dance isn’t a reclamation; the space has always been ours.

The Bear is currently working in the kitchen towards a June 2024 release for the third season. This will keep the show in an intense burn for three consecutive years straight, and hopefully soon, we’ll find out if Carmy decides to keep his head on straight regarding the restaurant vs. his personal life. Oh, and perhaps he will escape from that refrigerator at some point, too.

FX and Hulu know when to hold onto the reins tight when they’ve got a live one, and that is the case here for sure. Does that mean a fourth season is already in the cards? Reportedly, yes. The Hollywood Reporter reports that the next few seasons are secretly shooting back to back, which means we’ll see a whole lot more of Sydney positioning to take over the culinary world. Alright, I made that last part up, but admit it, that needs to happen. Here’s what THR‘s sources revealed:

Sources confirm to The Hollywood Reporter that the Emmy-winning dark comedy has quietly been renewed for a fourth season. While FX declined comment on the pickup, sources note that seasons three and four will film back to back in a bid to keep the show on its annual release target as the cast and creatives continue to line their calendars with feature work as a result of the show’s widespread success.

‘Tis a wise move, too. Not only will the world want multiple additional seasons of The Bear, but the cast is growing increasingly in demand with other projects knocking down their doors. That’s the case for the whole ensemble cast, but in particular, Jeremy Allen White, Ayo Edebiri, Ebon Moss-Bachrach (who is finally receiving his due after many underappreciated TV performances) are signing onto other projects like mad. So, scheduling considerations for The Bear will be much easier if they film a few seasons within a single block of time. It’s a win-win for all interested parties.

(Via The Hollywood Reporter)

The first thing that caught my attention Orlando singer Isaiah Falls was how infectious, yet simple his breakout track “Florida Baby” is. Bouncy production that initially begins as sweet and tender before the drums arrive serves as the backdrop to Falls’ message to his “Florida Baby” — an independent woman who takes care of herself and doesn’t need a man, but doesn’t mind one if they’re worthwhile.

Falls’ vocals vary from song to song. The difference is sharp when you compare songs like “Florida Baby” and “Pain In My Voice.” On the former, Falls’ voice is pitched higher than other songs in his discography, and on “Pain In My Voice,” Falls’ vocals are brought down to earth to emphasize the emotions and pain he carries throughout the song. Then there’s “Sin On Purpose” which cements Falls’ voice as an instrument meant to be used in numerous ways, rather than just as is. The gritty “Flirty” and the soft and delicate “Tell The DJ” are additional examples of the wide field in which Falls employs his voice.

With a voice that plays all the roles he needs it to and songwriting that’s equally as good, Isaiah Falls has the ingredients to make a nice splash in 2024. A snippet he posted on TikTok is sure to make its rounds amongst ’90s R&B lovers this summer. Things are looking good for Isaiah Falls, so we caught up with the Florida native to learn about his inspirations, interests in and outside of music, and how he hopes to be remembered.

What is your earliest memory of music?

My earliest memory is growing up in church and my parents being a part of the band.

Who inspired you to take music seriously?

My two older brothers, both artists themselves, heavily influenced me to pursue music.

Do you know how to play an instrument? If so, which one? If not, which instrument do you want to learn how to play?

I pick up a guitar every now and then, but only know how to play a handful of chords. It’s definitely something I’d love to get more experience with.

What was your first job?

My first job was being a busboy at a restaurant cleaning tables.

What is your most prized possession?

My laptop is my most prized possession.

What is your biggest fear?

My biggest fear is my mother passing before being given the chance to experience better days and where my career will take us.

Who is on your R&B/rap/afrobeats Mt. Rushmore?

Some of the most influential R&B artists to me are Miguel, Sampha, Aaliyah, and PartyNextDoor.

You get 24 hours to do anything you want, with unlimited resources: What are you doing? And spare no details!

If I had 24 hours to myself to do absolutely anything with unlimited resources, I’d put all of my closest family and friends on a plane and take us somewhere special on vacation, probably somewhere like Greece, and treat them to anything they’d like.

What are your three most used emojis?

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What’s a feature you need to secure before you die?

A feature I need to secure in this lifetime is from Kendrick Lamar.

If you could appear in a future season of a current TV show, which one would it be and why?

If I could appear in a current TV show’s future season, I’d choose Euphoria based on how the show is shot and directed.

Which celebrity do you admire or respect for their personality and why?

I respect Vince Staples for being unapologetically himself, and I admire that.

Share your opinion on something no one could ever change your mind about.

My opinion is a PBJ sandwich is the best sandwich of all time.

What is the best song you’ve ever heard in your life and what do you love about it?

The best song I’ve ever heard in my life is “Slow Motion,” by Juvenile. It’s the perfect balance of “smooth” and “playa.”

What’s your favorite city in the world to perform, and what’s a city you’re excited to perform in for the first time?

I’ve only performed in a handful of places, but I really enjoy performing in my hometown Orlando, I’m most excited to perform in London.

You are throwing a music festival. Give us the dream lineup of 5 artists that will perform with you and the location where it would be held.

I’d have Tyler The Creator, Juvenile, Snoh Aalegra, SZA, and OutKast perform at my music festival. I’d host this festival in the middle of downtown Orlando.

What would you be doing now if it weren’t for music?

If it weren’t for music, and since I’m also a graphic designer, I’d lean more into being a creative director.

If you could see five years into the future or go five years into the past, which one would you pick and why?

I’d choose to see five years into the future to get a glimpse of my family and make sure they are doing well.

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

If I could give advice to 18-year-old me I’d let him know to keep pursuing music, you are on the right track.

It’s 2050. The world hasn’t ended, and people are still listening to your music. How would you like it to be remembered?

In 2050, I’d love for my music to be remembered as boundary-pushing and risk-taking.

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

I know I said we at Uproxx do not engage in schadenfruede when I wrote about another Kanye West fail earlier this week, but the man is truly testing the limits of that policy this week.

Now, you’d think anyone who has followed the mercurial producer’s moves for the past, like, decade would understand the inherent risk involved in unskeptically engaging with anything he announces, but Roling Loud attendees were given the “Emperor’s New Clothes” treatment firsthand at his “special performance” last night in Inglewood, California.

Billed to perform a “headlining” performance ahead of the festival proper, Kanye instead pulled a Frank Ocean at Coachella, instead just sort of standing around onstage while a DJ played his last album, Vultures 1. Fans were… let’s just say “displeased.”

“I’m not gonna say the show sucked but I just thought going to a Kanye show would be different,” wrote one disgruntled fan on Twitter.

“So Kanye is lipping the whole performance tonight,” observed another, with pretty obvious disappointment.

And look — I said Uproxx wouldn’t engage in any schadenfruede, but fans on Twitter certainly did. “No way Kanye just dipped after playing vultures at rolling loud,” one joked. “At this rate he gonna stop showing up at all and tell his fans to imagine him performing, they’ll be like ‘I see him.’” Again… The Emperor’s New Clothes. (They’re already doing it, btw).

The disdain for Kanye’s latest anti-performance was palpable, but something tells me folks will keep coming back for more — sunk costs and all. It definitely sucks to see a first ballot hip-hop hall-of-famer turn into …. this, but the good news is, there are plenty of other artists out there to enjoy who haven’t become Nazi apologists. Check out some more reactions below.