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Jennifer Lopez has long balanced music, acting, and other pop culture interests, and has thrived at it all. Now, she’s shifting the focus back to music: Her new album, This Is Me… Now, comes out tomorrow, February 16. Lopez just preceded that release, though, with big news: Starting this summer, she’s heading out on This Is Me… Now The Tour.

The trek kicks off in Orlando on June 26 and will hit other major North American cities between then and late August, putting Lopez on the road for a busy couple months. This will be Lopez’s first concert tour since 2019.

As for tickets, the first ones will be made available with a JLo Fan Club presale starting Tuesday, February 20 at 9 a.m. local time. There are also presales exclusive to Citi cardmembers and Verizon customers, both starting on February 20 at 10 a.m. local time. Find more information on the Citi presale here and the Verizon presale here. Following all that, the general onsale will start February 23 at 10 a.m. local time via LiveNation.

Check out the list of Lopez’s upcoming tour dates below.

Jennifer Lopez’s 2024 Tour Dates: This Is Me… Now The Tour

06/26 — Orlando, FL @ Kia Center
06/28 — Miami, FL @ Kaseya Center
07/02 — Austin, TX @ Moody Center
07/03 — Edinburg, TX @ Bert Ogden Arena
07/05 — San Antonio, TX @ Frost Bank Center
07/06 — Dallas, TX @ American Airlines Center
07/09 — Phoenix, AZ @ Footprint Center
07/11 — Los Angeles, CA @ Kia Forum
07/13 — Anaheim, CA @ Honda Center
07/16 — San Francisco, CA @ Chase Center
07/17 — Sacramento, CA @ Golden 1 Center
07/19 — Palm Springs, CA @ Acrisure Arena
07/20 — Las Vegas, NV @ T-Mobile Arena
07/22 — Denver, CO @ Ball Arena
07/24 — Tulsa, OK @ BOK Center
07/26 — Rosemont, IL @ Allstate Arena
07/27 — Indianapolis, IN @ Gainbridge Fieldhouse
07/30 — Pittsburgh, PA @ PPG Paints Arena
07/31 — Detroit, MI @ Little Caesars Arena
08/02 — Toronto, ON @ Scotiabank Arena
08/05 — Montreal, QC @ Bell Centre
08/07 — Boston, MA @ TD Garden
08/09 — Belmont Park, NY @ UBS Arena
08/10 — Newark, NJ @ Prudential Center
08/13 — Philadelphia, PA @ Wells Fargo Center
08/14 — Washington, DC @ Capital One Arena
08/16 — New York, NY @ Madison Square Garden
08/20 — Cleveland, OH @ Rocket Mortgage FieldHouse
08/22 — Nashville, TN @ Bridgestone Arena
08/24 — Raleigh, NC @ PNC Arena
08/25 — Atlanta, GA @ State Farm Arena
08/27 — Tampa, FL @ Amalie Arena
08/30 — New Orleans, LA @ Smoothie King Center
08/31 — Houston, TX @ Toyota Center

So much for that. Hot Ones host Sean Evans has reportedly broken up with adult film actress Melissa Stratton, a day after most people learned that they were even together. According to TMZ, Evans called Stratton on Valentine’s Day, of all days, and told her “he wanted to call it quits because of the media attention they were getting.”

We’re told Sean expressed to Melissa he wanted to keep his love life more under wraps. Our sources say Melissa found Sean’s reasoning odd for a few reasons… he knew what she did for a living when they started seeing each other and he invited her to multiple public events in Las Vegas leading up to the Super Bowl, and took photos with her.

That’s a likely story for what really happened: Evans got tired of Stratton saying “man, it’s a hot one” every time he asked about the weather.

Not a ton is known about Evans’ personal life; he’s the one asking the questions on Hot Ones, not answering them. But in 2019, he talked to the Hollywood Reporter about his idols growing up. “At that time I was obsessed with David Letterman and Howard Stern, so there was always this part of me that was interested in the ‘lights, camera, action’ of it all and a part that thought I could do it,” he said. “I went to the University of Illinois to be a broadcast journalism major — and wrote about Letterman and Stern to get in — so I feel like I was always interested in this.”

(Via TMZ)

We don’t tend to assign comfort to NBA basketball or its ecosystem. Pressure, strain, dominance, yes; those are qualities we not only anticipate, but consider a player, team, or season to be faulty — even erroneous — without. But when we consider the basic qualities of the game, requirements like skill, conditioning, recovery, communication, team chemistry, comfort is as fundamental as footwork (also fundamental to footwork), essential to the action as a mechanic as to the desired culmination: winning.

Comfort’s been essential to the Milwaukee Bucks this season, though on the surface it may not seem that way. The team adjusted to the biggest offseason move of the summer in adding Damian Lillard to its roster, and has shifted between three head coaches in the past eight months. These moves speak to the competitive bent of the team, now one more season removed from an NBA title the franchise is keen to repeat, and to the mindset of the main person the front office trusts to get them back there. A person who understands, deeply, the value of comfort.

“I don’t know if you watched, a couple days ago we played in Portland and the way that they received [Lillard], how people love him there because he did so many things for that organization, literally. We use the phrase, that’s his house, or he built that house, so when he went back, everybody was ecstatic to see him,” Giannis Antetokounmpo recounts to Dime on a call from the road in early February.

Lillard’s come up because he’s been something of a barometer for the Bucks perceived success this season, and because his acclimatization in Milwaukee has been a crucial concern for Antetokounmpo. The way the Bucks competitive merit has been debated this season, without context, suggests a losing team opponents are bulldozing over night after night. The reality, an offensive juggernaut with a top five offensive rating replete with a top three effective field goal percentage, has kept the Bucks snugly in top tier contention in the East for half of the season. That in itself is a comfortable position, and is in no small part due to Lillard.

Before this season started, Antetokounmpo and Lillard sat down for an interview with Chris Haynes. In it, Antetokounmpo talked about the hard-edged qualities like sacrifice we’re most familiar with in analysis around winning, but he also made the quieter point that in order to be successful, they had to feel very comfortable. Asked whether he thinks comfort is just as important as pressure in competition, and Antetokounmpo is adamant.

“I believe…I cannot imagine putting myself in Dame’s shoes and going to a different team after 11 years. I’ve been in Milwaukee for 11 years. I know how the game’s going to look, I know how practice is going to look, I know my route to my house, my route to the arena. I have seen pretty much most of the fans, have interacted with them,” Antetokounmpo says, underscoring the familiarity of his routine as much as the parallels Lillard had, and lost. “I know every single room and area in the Fiserv Forum, all the people that work there. It’s a level of comfort.

“Obviously when the game starts, it’s unpredictable. You’re uncomfortable for those 48 minutes but you take the 23 hours, 12 minutes left, you try to make it as comfortable as possible.”

It’s worth noting the parallels between Antetokounmpo and Lillard, at least as Antetokounmpo clearly sees them when he mentions and repeats several times their shared tenure of 11 seasons (Lillard has gone through 11, while Antetokounmpo is entering his). Antetokounmpo’s ease in turning the Bucks over to Lillard is part wanting to accelerate the comfort necessary to win, and because it appears that after a decade with one team, winning a title and acquiring a star-level running mate, he not only has the material to look back on, but the necessary distance to do it. From this retrospection we’ve gotten Giannis, in multitude.

In the short span of 2024, Antetokounmpo has released UGO: A Homecoming Story with WhatsApp; launched own media production company, Improbable, that will subsequently release his documentary Giannis: The Marvelous Journey to debut on Prime following All-Star Weekend; and now, has teamed up with Starry as one of the brand’s newest ambassadors.

For a person who started his professional career as a shy, lanky kid nervous to make a misstep, Antetokounmpo’s growth into a candid, accountable, funny (there’s no one better at or more fond of dad jokes in the entire NBA, maybe present or historic) public persona has been exciting to watch. It’s also a reality of his life that he’s had to grow comfortable with.

“I started playing basketball because I love the game of basketball, and there’s a lot of things that come with playing basketball which is getting attention, having a platform,” Antetokounmpo says. “Hopefully, while I’m doing what I’m doing I can inspire people, impact other’s lives. I didn’t start playing because I wanted to be a role model in any way, but I understand that’s a responsibility that I have now.”

Where his desire to share has changed the most over time has come from being a parent. He credits it for some of his lightness as well as the partnerships he chooses, leaning into his playful side with Starry. Having kids of his own has also made him as “careful as possible” with that he shares.

“There’s kids in Greece, kids in Africa, kids in Milwaukee, there’s kids all around the world that follow every little thing that I do and they repeat everything I say. I think I understand it more with having kids now, every single day you gotta walk on tippy-toes around them because they repeat and copy every little thing you do,” he chuckles. “But I think as I grow older I’ve become more mature and more aware of the platform I have. People get inspired by my journey, and at the end of the day people will not remember my accolades, and things on the court, they will remember how I made them feel, and if I motivated them to do something great in their life.”

It takes confidence, a profound sense of comfort in oneself, to play the kind of basketball Antetokounmpo does night after night — thundering, physical, flowing — as it does to act out a pretend presser with a cartoon lemon and lime, as in his new Starry commercial. The key, for him, is to shed all expectations but his own.

“If you see my acting skills, I’ve been taking a lot of advice from Denzel Washington, and Leonardo DiCaprio, and Ryan Reynolds, so I felt comfortable. I felt in my zone,” he jokes about his succinct lines and excellent body work in the spot, pointing out how easy it was to work with the Starry team because their humor aligned with his.

“I’ll be very honest with you,” he tone switches to a notch more serious. “I set my own expectations through my whole career, through my whole life. I don’t think anybody has higher expectations than me. Nobody lives my life. There can be expectations from the media, from the organization, from your teammates, from your circle, but at the end of the day I set my goals and I always try to set realistic expectations that I believe I can achieve.”

Some of that comfort comes in the bone-deep understanding that he’s outpaced any of the expectations that were placed or projected onto him.

“Going back through my whole journey, with all the people that I’ve worked with, I feel I’ve exceeded all the expectations that anybody set for me,” he notes, almost with the verbal equivalent of an amiable shrug. “So I just keep on setting my expectations, because if I listened to their expectations, I wouldn’t be the person I am today. I don’t think anybody ever thought a skinny kid from Greece would be one of the best — not to sound arrogant, but I’m trying to speak facts — players to play this game today.”

Antetokounmpo’s singular drive to succeed for himself and his family has been well documented, and we’re lucky to watch it alchemized into small, game-sized bites. What’s been less noted is where his personal and professional extension beyond the floor, ramping up in the last few years, comes from. Antetokounmpo has a palpable curiosity for the wider world, and a burgeoning intrepid bent. His recent and larger ventures reflect it — travelling back to Nigeria and Greece for his documentary projects — but if you consider the risks and uncertainty he faced and figured out in his formative years, it was a fearlessness shaped from desire; for life and the world.

“I’m just trying to live life hard and be in every single moment, hard. From the moment I wake up to the moment I fall asleep, I try to live every single moment as hard as possible,” he says. “I’m trying to embrace all of those moments, learn from them, and live them hard. I only live those moments once — that’s pretty much it.”

The quote, in a way helpfully tidy for this story, exemplifies the duality Antetokounmpo exhibits in most of his public ventures. He can deliver a scorching game, a bluntly honest reflection of himself or his team, or a compelling ethos for living that makes you want to immediately run outside just to feel the sun on your face, and then cap it with a joke or gently effacing punctuation. It’s a handy way of drawing a parallel between him and his audience, who in some ways (such as on the floor) will never be able to relate, but in others (like in the fundamentals of life), will. It goes back, once again, to comfort.

Antetokounmpo confirmed as much at a recent presser when, asked if he was happy to stack two team wins together, told a room of reporters he didn’t mind if they stacked two or ten in a row. What’s important, he said, was the team competing, heading in the right direction. As the Bucks look to solidify their identity in the second half of the season under Doc Rivers, their determination to dig into this comfort and put outside perception aside will be key in cutthroat conference.

A big hint of whether they’ve arrived came in Antetokounmpo finishing his thoughts about accommodating Lillard: he switched from past to present tense.

“We had to make him feel as comfortable as possible on the basketball court, but also off the court. It’s hard. We knew it would be hard for him. I think everybody, the team, did a good job,” Antetokounmpo says matter-of-factly. “We supported him, and now he feels comfortable. So, our goal stays the same: to be the last team standing.”

Ben Mendelsohn is unpredictable in the best of ways. One minute, he’s carefully considering a question concerning his latest on-screen gig — playing iconic French fashion designer Christian Dior in a historical drama for Apple TV+ set during the Second World War. The next, he’s belting out lyrics to a Beyonce banger. He cares deeply about his craft, and not at all for pretentious discussions on method and process. To him, too much critical praise equates a death sentence, but disappointing his audience keeps him up at night.

He’s all about the work. Not in the pompous, hollow way that sparks some deserved eye-rolling from the non-Hollywood crowd. No, Ben Mendelsohn really doesn’t give a f*ck – at least, not about things that seem unimportant. Like, for instance, too-brief junket interviews designed to fluff up his ego.

So, when we sit down over Zoom to talk about The New Look – a gorgeously shot attempt at covering Europe’s post-war fashion renaissance that sings when it lets stars, Mendelsohn, Juliette Binoche, John Malkovich, and Maisie Williams play against one another – I do my best to refrain from embarrassing us both by raving over his past works. Ben Mendelsohn is good at what he does, he doesn’t need me to tell him.

In his new series, he subverts expectations, playing a tortured artist instead of a calculating villain, anchoring a fascinating (although clumsily-paced) POV of what it was like to live under Nazi rule. Below, UPROXX chats with him about the show, acting myths, and the importance of making art accessible.

I was watching a video where you break down your most famous roles, and the comments section was full of compliments saying you’re underrated, you don’t get your due, you deserve more praise. Do you agree with all of that? Do you feel underrated at this point in your career?

No, no, no, no. I’m as fancy pants as all getup. The actors like me fine, [so] I’m good. You know what I mean? And as to the wider world … that’s the pain in the arse about this whole thing. You want to know what the guaranteed death sentence of an actor is? To be considered the greatest screen actor of their time.

You’ve worked with [showrunner] Todd Kessler before. How did he pitch this project?

He said he was reading [about] Dior, and then he spoke about Dior’s deep, uncomfortable revulsion at his private self versus his public self. And I said, ‘When do we do it?’ I’ve been wanting to work with him again on whatever was viable. I waited five years through this and that and the other. I was waiting for this one for a long time.

Just standing outside his house, waiting for him to toss you a script?

No, he was at my place making pizza. That’s how it happened. I’m not waiting outside his door. Boy, you’ve got a really funny idea of me. [Begins singing Beyonce’s 2006 hit, “Irreplaceable”] You must not know about me …

What was it that appealed to you about playing someone like Christian Dior?

It’s that thing of feeling uncomfortable about who you are and that suggests a very universal idea. When I watched him, he was a sensitive person, he was a person with a lot of anxiety and who sought certainty through tarot, through divination. He was also very Catholic. He was very set in his preferences in how he loved and lived.

It’s a story about, how you take yourself through the world — with all your crappy bits that you don’t much like or you can’t deal with — and do something? The world seems against you and hostile. How do you do it? That to me is what the story is. And then the fact that it’s about these mega [designers]. All around the world, everywhere you go, Chanel, Dior … and there’s an inaccessibility about all that hoo-ha right?

You’ve made him relatable.

I think it’s very reassuring. I think we have a lot of funny ideas about what it takes and the way it gets sold to us. Like yeah, if you remain positive and you have a certain alpha [quality] — and don’t forget, no negative thoughts, don’t get angry, that’ll tear you down, and don’t doubt yourself. It’s all, it’s a crock. It’s very antagonistic towards a person being able to be settled and go, ‘Well, you know what? Yeah, there’s a bunch of things I’ve got wrong. There’s a bunch of things I can’t do, but I just [need to put] one foot in front of the other and [try]’.

It’s just decent intention, plodding along, trying to do the best you can, and being able to put something beautiful into the world in response to a horrible situation. From little things, big things grow.

That’s all internal. Did you reckon with how living in a time of war might make him feel, about himself and his work?

No, you don’t know how people would be feeling. You offer up an idea. You offer a proposition. As soon as you think you know something, you’re jerking off. You never know. You postulate.

How do you measure your performance then? Whether you’re doing a good job?

You don’t, but it’s not important. What’s important is the audience. So the thing is, when you guys talk to us, you talk to us like it’s all about us. But any one of us that’s on the money, is not worried about what [we’re] doing. We’re worried about you guys and getting something to you that is alive and effective, you know?

How we go about doing that or building that is essentially just a bunch of myth. It’s not really the way it happens. It’s got not much to do with that at all. What it is, is a camera, an actor, another actor, a few lines, and then seeing if you can find a way to communicate that in a way that feels alive and has a feeling with it. That all gets stitched together and then you guys get it. It’s not for us. We don’t matter in that respect. It’s not important what we do or how we do it. It’s only ever the audience. And that’s why I can kick a goal sometimes because I’m not worried about how we do it or why we do it or any of that stuff. I take it on faith that we pick this up, but when it goes to you, it comes together and it means something.

Does that mean, when you’re working, you’re not in your head as much?

I’m in my head a lot. But I’m in my head about, ‘Is there a way we can make it better? Is it better if I do that here or there?’ I’m into the minutiae, right? I’m not into all the macro, all of the certainties. That stuff is dead. That doesn’t live. We’re not trying to make a historical documentary, we’re trying to take the real-life situation and go, well, here it is and can you feel it?

Personally, I enjoyed the show and its perspective, not just of Dior, but of this time period – if that was a worry.

Trust me, that is all I worry about. It’s the world to me. I love the audience. I don’t get above them. I stay below them. That’s why we bow. Because we are beneath you. We come for you not the other way around.

Sexyy Red gave birth recently, and she, Drake, and SZA decided to make that the foundation for their new “Rich Baby Daddy” video that dropped last night (February 14).

The Drake-directed clip starts with himself behind the camcorder, showing off his suburban neighborhood before heading inside to his pregnant wife, Red. The music kicks in at around 45 seconds and shows Drake, Sexyy, and SZA enjoying a holiday celebration in their humble home. The music cuts back out at 2:17 into the video, when Red shouts at Drake from across the house, letting him know that her water broke.

The music returns as the three head to the hospital, where the video shifts away from its VHS style and starts looking more modern, as Sexyy gives birth and friends and family celebrate the new arrival. Before the video ends, we see footage from after Red’s actual, real-life childbirth, as she holds her baby and on-screen text reads, “Congratulations Red!!! We Love You.”

Speaking of hospitals, at a recent St. Louis concert, Drake offered to pay for a fan’s upcoming operation, saying from the stage, “You got a sign out that says, ‘Please help me with my surgery.’ I don’t know what kind of surgery you need, sir. I really don’t, but I’ma let you know: From me to you, St. Louis love, we gonna take care of whatever the surgery is.”

Watch the “Rich Baby Daddy” video above.

Megan Fox was spotted with Taylor Swift during Super Bowl weekend following the Kansas City Chiefs thrilling victory over the San Francisco 49ers. Makes sense. A lot of people wanted to hang out with Swift (and her boyfriend, Chiefs tight end Travis Kelce), but only the Jennifer’s Body actress made an odd “sex doll” joke about her photo with the singer.

Following criticisms about her appearance, Fox (who was there with her fiancé, Machine Gun Kelly) wrote on Instagram, “oh my god guys look how different i… dont look at all. turns out it was just a shadowy cell phone pic of me looking like a ukrainian blowup doll. when in REALITY i look like one of those super expensive silicone real sex dolls you can only get in japan.”

You can see the post below.

The snaps were taken at Resorts World Las Vegas’ Zouk nightclub following the Kansas City Chiefs’ victory over the San Francisco 49ers on Sunday. They were first shared on Tuesday by Chiefs fan Joe Oravec. After the pictures surfaced, some trolls honed in on Fox’s facial features, accusing the movie star of having plastic surgery done.

Swift and Fox don’t have much of a history (other than Swift calling Paramore’s Hayley Williams “the jennifer’s body version of yourself,” whatever that means), but Kelce and MGK do. A Redditor pointed out, “Travis and MGK actually grew up near each other. They went to rival high schools and knew each other since then. There’s an episode of New Heights where MGK calls in and they talk about growing up in Cleveland.” Maybe Machine Gun Kelly can help launch Kelce’s music career? Or, on second thought, maybe not.

(Via People)

While the Taylor Swift and Kanye West feud has been mostly dormant in recent years (save for Swift mentioning it in December 2023), it has started to resurface in recent days. First, West hopped on Instagram to celebrate beating Swift on a Spotify chart (although that didn’t last long), and how he’s returned to the platform to talk about Swift some more.

On Instagram last night (February 14), West shared a screenshot of a tweet from a Swiftie, which encouraged other fans to stream and buy Beyoncé’s new single “Texas Hold ‘Em,” in an effort to prevent one of West and Ty Dolla Sign’s new Vultures I songs from debuting at No. 1 on the Billboard Hot 100 chart.

West started the post’s lengthy, all-caps caption, “When I said that I’m the new Jesus b*tch I wasn’t even thinking about Taylor Swift. That was a whole line before but I appreciate the free promo. Lil Wayne actually mentions Travis Kelsey on Vultures 2. This album is actually super positive and fun it’s all about triumphant.”

He later relayed his thoughts on the impact he’s had on Swift and shared a message for Swifties:

“Remember I was on Taylor’s side when Scooter bought her masters behind her back. She and Beyoncé are big inspirations to all musicians we always say how both sell out tours and movies. also, I’m sure I’ve been far more helpful to Taylor Swift’s career than harmful. To all Taylor Swift fans I am not your enemy uuum Im not your friend either though lol. Also i didn’t get kicked out of the Super Bowl we left our seats to go to YG’s box and see different friends. my wife had never been to a Super Bowl so I wanted to walk around and have a nice time we had such a fun day.”

Find West’s post below.

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

Michael Cera is an onscreen pillar of many a millennial’s youth. He perfected the lovable, quirky nerd archetype in coming-of-age benders like Superbad and cult comic book classics like Scott Pilgrim vs. the World. But he followed every box office blockbuster and early aughts classic with a smaller indie project, festival darling, or voice-acting gig that kept him toeing the line between magazine-stand celebrity and sidewalk-strolling anonymity. He liked it that way, getting recognized only sparingly in coffee shops and grocery stores but never chased down streets or mobbed at airports, but a Barbie role and a CeraVe Super Bowl commercial may just change that.

Fresh off his turn as Allan – a Queer-coded buddy of Ken’s who fits into all of his clothes and seems as disgusted by the idea of a horse-worshiping patriarchy in Barbieland as the rest of us – Cera pivoted once again, this time spearheading a guerilla marketing campaign for a skincare company that’s been borrowing his name for years. I spoke to Cera before his game day spot broke the internet, back when paid influencers and cleverly snapped paparazzi promos were sparking online conspiracies left and right. He played coy about his brand partnership then, urging me not to trust the misinformation that runs rampant on social media these days when I asked if he was, in fact, a skinfluencer now. In short, he lied, but after watching the three-minute ad in which Cera sensually whispers phrases like “all day hydration,” slaps some cream onto a rock face, and communicates with a unicorn dolphin, I can’t be too upset.

Instead of discussing his ongoing feud with the dermatology community, Cera teased the newest season of his feel-good comedy series Life & Beth, a semi-autobiographical take on the real-life romance of creator Amy Schumer and her chef-husband, Chris Fischer that returns to Hulu on Feb. 16th. In it, Cera plays a farmer named John whose relationship with Schumer’s Beth puts him on a path of self-discovery that’s hilariously awkward and often, heartwarming.

UPROXX chatted with Cera about finally reaching sex symbol status thanks to the show, the growing pains of new fatherhood, and the FOMO of still having a flip phone.

This season really dives into your character’s autism diagnosis. How do you play that respectfully, and also as this monumental discovery of self that pushes the story forward?

It’s something that John comes to through his relationship — Beth nudges him toward it — and ends up being a big unlocking for him of just understanding himself a little better. I love that it’s handled that way, this ASD diagnosis. It’s not a life-altering diagnosis, it’s just a way to understand himself a little better and work through their specific communication challenges. It’s a positive thing in his life, and it’s something that I would be grateful for — anything you could do to understand yourself a little better. So I love that we explore that this season, but it’s not the last word on John as a person. It’s not the only thing that you could say about him. You can’t define him by that.

So much of this show is based on Amy’s relationship with her husband, Chris. Is it tricky to play a version of a person who could randomly show up on set one day?

I didn’t think of it that way, fortunately, because that would be really challenging. The character is its own person. Chris is absolutely the big inspiration for it, and a lot of the moments are, of course, taken right from their lives, but it’s not an impression or an imitation of him because that is just not of service in any way, to the story or anything really.

Working so closely with Amy on bringing this character to life has been enormously helpful because Amy loves Chris, obviously, and experiences him so intimately that anytime I have any kind of question, anytime anything arises — even if I just want to make something more specific in a moment — I can always turn to Amy and be like, ‘What would Chris say? What can I say here to transition to this moment?’ And Amy always has something ready that’s so specific, and so dialed into the character’s voice that it’s great. I wouldn’t want to do it any other way really, than having her there all the time.

Has the advice ever been too specific? Has she ever overshared to get you there?

[laughs] No, I have to say, it’s always been very useful and just very, very instructive for me.

A big takeaway fans had in season one was that Michael Cera is a sex symbol now. Is that how you see yourself?

That’s the whole point of the show really, so I’m glad it’s landing … I mean, the character is this savior figure for Beth, so I get it. He is this escape for her, and he’s based on a very dreamy guy, so it’s a nice role to get to step into.

There is something almost irresistible about a man who knows how to dice a zucchini.

Yeah, or bleed a pig out.

There’s a pregnancy plot this season. You’re a fairly new dad. Did filming any of those scenes give you flashbacks to prepping for your baby?

Oh my God, yeah. It was totally relatable. It is all a bit of a haze, but I can remember feeling this looming sense of not knowing what to expect, and just feeling like you need to prepare, not knowing how, and just freaking out. I also remember when my son was born and we came home, for two weeks, we were in a state of [constantly] moving. Just always feeling like this engine that never stops going because you feel you need to be in service to keep this thing right. It’s like a whole new muscle you’re learning, and it is terrifying until, after a while, it suddenly feels normal.

How did that pre-baby stress manifest for you?

There is this preparation where you bring things in for the baby, you’re building things. It’s just a way of feeling ready somehow. It’s like externalizing your anxiety. I remember when we were in the hospital after our son was born, you feel like someone comes in the room every five minutes, inundating you with information about what you have to do, just downloading you on how to keep a baby okay, and it’s a million things, and you feel like you’re just trying to absorb it all. And really, all it boils down to is you have to change their diaper and feed them, and then they’ll sleep. It’s just those three things.

You’re not on social media. You still have a flip phone. You’re left out of the Barbie cast group chat. What’s your advice for dealing with FOMO?

I feel it often, so I don’t know how you deal with it. My wife is always telling me that I need to reach out to people more too. The thing is I also like being alone at home. I’m very happy to spend nights that way, but then you’re like, ‘Why didn’t I hang out with my friends that time?’ I feel like it’s up to you to make things happen. Apparently a lot of guys in their 20s and 30s, I read an article about this, especially post-pandemic, have been feeling very lonely and have, I think, become a lot more antisocial. I think it’s like if you really do have FOMO, I think you have to make the effort yourself. Because you can make things happen, and it’s actually very easy, but it’s just a matter of not thinking everything’s just going to come to you all the time.

I’ve seen stories of men going on “dates” with other men, just to make new friends because they’re so lonely. What would a “man date” with Michael Cera look like?

When I go out I just like to catch up with a friend. I don’t really like going somewhere where you can’t hear each other. So I like to just go have dinner and play chess somewhere.

I bought a travel chess set recently. My goal is to start bringing it to the bar on a night out and rope friends into playing with me.

Yeah, I have a specific friend that I do that with, and it’s funny because when you’re out playing chess, you meet other chess nerds and then they want to have a game, and you can get a little group hang happening.

Two months and some days from today will mark one year since Snowfall came to an end with its sixth and final season. The series concluded with (SPOILER NEXT) the downfall of Franklin Saint who was unable to recover his stolen money from Teddy after Franklin’s mother Sissy shot and killed Teddy. In the series finale, fans were crushed to see Franklin at a new low and it was the final piece of the Snowfall puzzle that also included the death of Jerome in addition to Teddy’s as well.

While many believed that the Snowfall story was over, Deadline revealed weeks before the series finale that a spin-off of the series starring Gail Bean, who plays Wanda, was in early development. It’s only a matter of time until we receive that series, so until then, let’s get into what we know about it so far.

Release Date

There is no official release date or title for the Gail Bean-led Snowfall spin-off. The last update about the series came from Gail Bean back in December thanks to a post on Twitter. A fan tagged her and asked “Now the strike is over…………whats up with that spinoff????” alluding to the Snowfall spin-off. Bean responded, “You’ll see in due time,” adding, “just know we cooking!” With that response, we can assume that the series will arrive in 2025 at the earliest, maybe late 2024 if we’re lucky.

Cast

As of now, all we know about the Snowfall spin-off cast is that Gail Bean will reprise her role as Wanda in the new series. We’ll have to wait a bit to find out the names of other characters and if characters from the original Snowfall series will appear in the spin-off. Malcolm Spellman is the executive producer and writer of the pilot. Dave Andron (the co-creator of the original and showrunner of Snowfall), Trevor Engelson, Michael London, Tommy Schlamme, and Julie DeJoie will also executive produce the series.

Plot

A brief explanation of the plot was revealed with the news of the Snowfall spin-off in early development. The spin-off will continue the original series’ story and shift the focus from the crack epidemic of the 1980s to the emerging Los Angeles rap industry that took the nation by storm in the 1990s. Bean’s character will serve as the connection between where the original Snowfall series left off and where the spin-off picks up.

Trailer

A trailer nor a teaser for the Snowfall spin-off has not been released yet.

How To Watch The Snowfall Spin-Off

The Snowfall spin-off, when complete, will be released on FX as the company is behind its development. There is no word on what day or what time the series will air.

The Washington Wizards came close to picking up their 10th win of the season on Wednesday night, but ultimately, they came up just a little short of taking down the Pelicans in New Orleans. Despite a monster night by Deni Avdija, the Pelicans were able to pick up a 133-126 win.

Washington had a chance late in the game, as they were down by four points with just under 30 seconds remaining and had possession of the ball. Jordan Poole tried to take on Herb Jones, and in a pretty common occurrence when guys challenge the New Orleans defensive ace, he committed a turnover. The catch: Jones didn’t poke the ball away or anything, because Poole committed a carry so blatant that the Pelicans announce team of Joel Meyers and Antonio Daniels completely lost it — particularly Daniels, who thought this was one of the funniest things he’s ever seen.

Meyers going “that was a running back, that was cradling the football” really was a nice touch. Unfortunately for Poole, this was a rough moment amid what ended up being an up-and-down evening during his difficult season in Washington, as he had 16 points on 6-for-13 shooting with seven assists, five rebounds, three steals, and three turnovers in 34 minutes of work.