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Bad Bunny’s latest album, Nadie Sabe Lo Que Va A Pasar Mañana, has led to many questions. Is he signed to Drake’s label? Are he and Kendall Jenner officially in a relationship? Has he abandoned his day-one supporters? But, before addressing any of those times, there was one thing the Grammy Award winner wanted to double down on.

The track’s opening song and title track — “Nadie Sabe (Nobody Knows),” produced by La Paciencia and Tainy — revisited his controversial phone-throwing incident in January, weirdly enough predicted by The Simpsons. While the recording artist has addressed the matter several times, including on social media and in past interviews, Bad Bunny wanted to hammer his sentiments in one last time.

“There’s a lot of people wishing me to go badly / Sadly it’s up to those people to suck / You are not my real fan, that’s why I threw my cell phone at you / I will always love the real ones / Let every bastard who wants to speak, speak,” Bad Bunny rapped on the song. Although the lyrics are roughly translated, the lines mirror his previous statements.

As a reminder, the interaction occurred during Bad Bunny’s visit to the Dominican Republic. In his words, a fan got a little too close for comfort. As the woman pulled out their phone to grab a video with the star, he grabbed it and tossed it into the nearby landscape.

Watch the official visualizer for Bad Bunny’s new song “Nadie Sabe” above.

Nadie Sabe Lo Que Va A Pasar Mañana is out now via Rimas. Find more information here.

(Yep, Gen V spoilers will be found below.)

Gen V viewers are hooked. That much is obvious, and incredibly enough, the “c*cksplosion” has already been washed away due to revelations from this week (Episode 5, “Welcome To the Monster Club”). We learned about implanted trackers and shadiness happening with the woods, and Sam’s thing with the Muppets is a whole lot of WTF (there’s a lot of those WTF moments, btw). Meanwhile, Marie wants both forms of Jordan, even though Jordan has trouble believing that this could be true. C’mon, Jordan. Read the room.

And somehow, the episode managed to jam-pack everything into around 35 minutes. [record scratch]

Yes, that’s right. This was both a miraculous feat and a semi-cruel one, as fans discovered and then judged. Relatively speaking, this is a good complaint to have, because that means that viewers want more.

Yet the episode felt overwhelmingly short to some, and that’s a rarity on streaming TV, where brevity can sometimes be a source of relief. A lot of shows could stand to trim 10 minutes per episode is all I’m saying, but The Boys and Gen V both couldn’t feel bloated if they tried (but please don’t try). So yes, this episode felt a little too short, and this complaint was echoed far and wide. Granted this is not happening with the level of viciousness of that silly review bombing of The Boys when many protested the weekly episode format (which actually rules), but the people want more Gen V!

Again, it’s a good problem to have, but it feels close to unanimous out there, both on a Reddit thread and on Twitter.

Too brief for sure. Yet at least this happened:

Amazon’s Gen V streams new episodes on Fridays.

(Yep, Gen V spoilers will be found below.)

Gen V viewers are hooked. That much is obvious, and incredibly enough, the “c*cksplosion” has already been washed away due to revelations from this week (Episode 5, “Welcome To the Monster Club”). We learned about implanted trackers and shadiness happening with the woods, and Sam’s thing with the Muppets is a whole lot of WTF (there’s a lot of those WTF moments, btw). Meanwhile, Marie wants both forms of Jordan, even though Jordan has trouble believing that this could be true. C’mon, Jordan. Read the room.

And somehow, the episode managed to jam-pack everything into around 35 minutes. [record scratch]

Yes, that’s right. This was both a miraculous feat and a semi-cruel one, as fans discovered and then judged. Relatively speaking, this is a good complaint to have, because that means that viewers want more.

Yet the episode felt overwhelmingly short to some, and that’s a rarity on streaming TV, where brevity can sometimes be a source of relief. A lot of shows could stand to trim 10 minutes per episode is all I’m saying, but The Boys and Gen V both couldn’t feel bloated if they tried (but please don’t try). So yes, this episode felt a little too short, and this complaint was echoed far and wide. Granted this is not happening with the level of viciousness of that silly review bombing of The Boys when many protested the weekly episode format (which actually rules), but the people want more Gen V!

Again, it’s a good problem to have, but it feels close to unanimous out there, both on a Reddit thread and on Twitter.

Too brief for sure. Yet at least this happened:

Amazon’s Gen V streams new episodes on Fridays.

Loki Season 2 dropped its second episode, “Breaking Brad,” on Thursday night, and Loki fans are already caught up in their feels over watching Tom Hiddleston and Owen Wilson together again.

After solving Loki’s time-slipping issue in the Season 2 premiere, Loki and Mobius are finally partnered up again as they search for Sylvie (Sophia Di Martino) in 1977 London. Not only do the two slip right back into their buddy cop routine, but their chemistry is off the charts as they cross paths with X-5 (Rafael Casal). After catching the rogue hunter, he rattles both Loki and Mobius during an interrogation attempt, which leads to a tender moment of the two bonding over pie.

While each enjoy a slice of shockingly green key lime pie (which, weirdly, is the only thing the cafeteria served), Loki comforts Mobius and assures him that everyone loses their cool. The two actors beautifully sell the scene, and it’s one of the most compelling Marvel moments in years. There was no green screen or special effects, just two actors doing great character work.

Later in the episode, Loki and Mobius fail to stop Dox (Kate Dickie) from bombing branches of the timeline, which causes a catastrophic loss of live across realities. As the gravity of the situation sets in, Loki places his hands on Mobius’ shoulder, and Loki fans lost their minds.

Hiddleston and Wilson have chemistry for days, and Season 2 is doing a great job of leaning into it. You can see from the reactions below that Loki fans can’t get enough of them together:

Loki streams new episodes Thursday on Disney+.

Loki Season 2 dropped its second episode, “Breaking Brad,” on Thursday night, and Loki fans are already caught up in their feels over watching Tom Hiddleston and Owen Wilson together again.

After solving Loki’s time-slipping issue in the Season 2 premiere, Loki and Mobius are finally partnered up again as they search for Sylvie (Sophia Di Martino) in 1977 London. Not only do the two slip right back into their buddy cop routine, but their chemistry is off the charts as they cross paths with X-5 (Rafael Casal). After catching the rogue hunter, he rattles both Loki and Mobius during an interrogation attempt, which leads to a tender moment of the two bonding over pie.

While each enjoy a slice of shockingly green key lime pie (which, weirdly, is the only thing the cafeteria served), Loki comforts Mobius and assures him that everyone loses their cool. The two actors beautifully sell the scene, and it’s one of the most compelling Marvel moments in years. There was no green screen or special effects, just two actors doing great character work.

Later in the episode, Loki and Mobius fail to stop Dox (Kate Dickie) from bombing branches of the timeline, which causes a catastrophic loss of live across realities. As the gravity of the situation sets in, Loki places his hands on Mobius’ shoulder, and Loki fans lost their minds.

Hiddleston and Wilson have chemistry for days, and Season 2 is doing a great job of leaning into it. You can see from the reactions below that Loki fans can’t get enough of them together:

Loki streams new episodes Thursday on Disney+.

Could Megan Thee Stallion’s industry issue be over? For years, the “Savage” rapper has been tied up in a legal battle with her former label, 1501 Certified Entertainment, and company head Carl Crawford. In past court documents, the Grammy Award-winning musician has accused the entity of sabotaging her past releases and hiding money. Now that Megan has officially returned from her hiatus, she’s shared a significant update with fans.

Yesterday (October 12), during an Instagram Live session, Megan revealed that she’s not signed to a label and explained why she’ll stay independent. The broadcast, which longtime producer Lil JuMade It hosted, gave fans hope that things were looking up.

“Hotties! The real hotties, not the notties. Kinda them, too. This part of my album is very much so funded by Megan Thee Stallion because we’re trying to get off… Y’all know what’s the tea. But I have no label right now,” said the recording artist.

She continued, “And we’re doing everything funded straight out of Megan Thee Stallion’s pockets. So, the budget is coming from me. Motherf*cking Hot Girl Productions! The next sh*t y’all about to see is all straight from Megan Thee Stallion’s brain and Megan Thee Stallion’s wallet. We are in my pockets, hotties, so let’s do our big one.”

Megan discussed the decision to step out on her own and what the future holds. “I’m so excited to be doing something for the first time independently since it was just me and my momma. So excited. It’s really just me this go around until we sign to a new label. But I don’t want to sign to a new label right now because I just want to do it myself,” she remarked.

Watch the full clip below.

Could Megan Thee Stallion’s industry issue be over? For years, the “Savage” rapper has been tied up in a legal battle with her former label, 1501 Certified Entertainment, and company head Carl Crawford. In past court documents, the Grammy Award-winning musician has accused the entity of sabotaging her past releases and hiding money. Now that Megan has officially returned from her hiatus, she’s shared a significant update with fans.

Yesterday (October 12), during an Instagram Live session, Megan revealed that she’s not signed to a label and explained why she’ll stay independent. The broadcast, which longtime producer Lil JuMade It hosted, gave fans hope that things were looking up.

“Hotties! The real hotties, not the notties. Kinda them, too. This part of my album is very much so funded by Megan Thee Stallion because we’re trying to get off… Y’all know what’s the tea. But I have no label right now,” said the recording artist.

She continued, “And we’re doing everything funded straight out of Megan Thee Stallion’s pockets. So, the budget is coming from me. Motherf*cking Hot Girl Productions! The next sh*t y’all about to see is all straight from Megan Thee Stallion’s brain and Megan Thee Stallion’s wallet. We are in my pockets, hotties, so let’s do our big one.”

Megan discussed the decision to step out on her own and what the future holds. “I’m so excited to be doing something for the first time independently since it was just me and my momma. So excited. It’s really just me this go around until we sign to a new label. But I don’t want to sign to a new label right now because I just want to do it myself,” she remarked.

Watch the full clip below.

The critics are right, the new Frasier feels inorganic, inauthentic, charmless, and without heart or edge. But I can’t really blame anyone for trying to make this work. In a world where everything gets recycled, of course Frasier Crane, the most successfully repurposed character of all time, deserved a shot at pulling off an impossible TV comedy trifecta following Cheers and the original Frasier. But on a solo mission, this thing was snake-bit from the start, something that’s made crystal clear when you watch or think back to the original’s pilot from 1993 and it’s near perfection.

Honestly, when it became clear that David Hyde Pierce wouldn’t return, that might have been the moment to abandon hope. Frasier isn’t iconic because of Frasier Crane alone. Grammer’s neurotic radio shrink is like the original show’s 5th best character (he’s ahead of Bulldog and Eddie the Jack Russell Terrier). But the interplay between all of them was the secret sauce from the start.

The death of the great John Mahoney created a gap that could never be filled on this show, and without him playing Martin, without David Hyde Pierce’s Niles, without Jane Leaves’ Daphne, and Peri Gilpin’s Roz, the new Frasier became a blank page. And after watching its first two episodes, it still feels that way.

The new characters – Frasier’s previously semi-abandoned son Freddy (Jack Cutmore-Scott), his roommate Eve (Jess Salgueiro), Niles’ son David (Anders Keith), and Frasier’s freshly introduced old friend (Nicholas Lyndhurst) and new co-worker (Toks Olagundoye) – are front and center, of course, but the blame for them not standing out early and often isn’t really theirs. Talented though they may be, they’re all playing characters that feel stock when compared to the originals, who from the start, possessed a slow burn allure that made you want to see how these relationships would develop.

While legendary TV director and Frasier alum James Burrows filmed the pilot (and other episodes), nearly none of the show’s credited writers (including its creators) worked on the original. The two decades of space make that detail unsurprising, but the tone of this show just feels very divorced from the original, even when they’re trying to hit us over the head with non-subtle nods. To be honest, even Grammer feels off the mark, as though he’s doing an impression of this character he played for about two decades, about two decades ago. (A detail that should also provide him some kind of shield. It’s been a long time!)

Listen, I know it’s unfair to directly compare the pilots for the original Frasier and this. Especially since the circumstances of each show and the space from when the audience last experienced Frasier Crane differs so much, but it’s inevitable and it’s extra damning.

In 1993, Frasier began with a wall of exposition as our hero lays out how his life fell apart in Boston and how he had made a choice to start anew. It’s concise, but more importantly, it’s inspiring and sets a tone where we’re rooting for this guy even though he can be a pretentious prick. It’s also grinningly funny when it turns out Frasier has been talking to thin air. In this new thing, our re-introduction is just as quick but hollow.

Spoiler, I guess, but Frasier quit his job, the relationship with Charlotte that he pursued at the end of the original series finale went 20 years before ending with little explanation (to us), and now he’s in Boston after Martin’s funeral to see some friends (no, not friends from Cheers) and Freddy before going off to Paris. There’s no real emotion behind any of this. It’s all matter-of-fact or surface. Not inspirational. And while a heartstring gets plucked by the fact that he wants to reconnect with his son, original Frasier fans will probably remember that Frasier was a bad dad who moved across the country when Freddy was a boy, and that the kid only appeared in 8 episodes across 11 seasons. (And hey, why did we need a Freddy re-cast? Trevor Einhorn is still acting.)

I’m not sure what this new Frasier misses most (besides its cast, writers, and Trevor Einhorn): it’s heart or its edge? Niles and Frasier’s sibling rivalry was delicious, but also complex. Evident in their first meeting and throughout the series, there was ample affection, but also a bouquet of petty jealousies and grievances. Martin’s live-in caregiver Daphne sort of just freaked Frasier out at the start with her psychic tendencies and absence of filter. Even Eddie the dog existed as a little tension monster, sitting on Frasier’s furniture and invading his home life. At work, Frasier’s no-bullshit producer Roz took great joy in taking the piss out of him. (It’s noteworthy how frequently the original focused on knocking Frasier down and how many times people — particularly other academics and students — fawn over him in this new show, which isn’t without takedowns, they’re just fewer and further between.)

The engine of the show, however, was Martin and Frasier’s relationship. The complexity of their situation was instantly obvious with their frayed bond and years of estrangement and uneasiness between them. And I mean instantly, through antagonism and frustration that’s both pregnant and expressed.

There is a scene in the original pilot that really differentiates these two shows. Frasier is sitting alone in his immaculately curated apartment playing piano before the doorbell chimes and he misses a key. He rises to answer the door and greet his father, whom he has begrudgingly agreed to let live with him. From that missed key to the varying looks of reluctance, sadness, ultimate resignation, and the mask of fake enthusiasm Frasier throws on once he opens the door, this is a comedy master class. A message delivered: creatively, meaningfully, and wordlessly about their very uncomfortable relationship and uneasy living situation.

With this show, Frasier is the interloper, but the edge is softened with humor that’s more broad and less intimate and pointed. Characters seem to say things, not because it makes sense for their characters, but because it fits a standard of what a sitcom should deliver. Emotional moments are outsized and quickly resolved, allowing things to move to the next set-up/punchline/EMPHATIC LAUGH TRACK even though those resolutions seem too quick or unearned.

As an example: Frasier comes off as unhinged when, after a heart-to-heart with his son, he overreacts and buys the building he lives in, flipping the power dynamic of the original with Frasier now able to force people to live with and around him on his terms rather than be put upon. Basically, it’s a horror comedy. And the second episode is no better, retracing familiar themes and moments from the original, but again, sped up. Always sped up. Frasier therapizes himself and Freddy and Frasier find common ground in their new apartment in record time. I’m not sure what emotional speed run will come next, but this show is living like it doesn’t expect to be around long. Like Daphne Moon, it might be a little bit psychic.

As an aside, we actually were psychic ourselves 5 years ago when we ran a list of suggested reboot ideas: the Frasier and Freddy reconciliation, moving back to Boston, Lilith popping up (at some point this season), Paris… it’s just a damn shame they didn’t go with the all-denim idea or post-apocalyptic Frasier. Trevor Einhorn would have looked badass with an eye patch! Scrambled eggs all over their face, I suppose.

The critics are right, the new Frasier feels inorganic, inauthentic, charmless, and without heart or edge. But I can’t really blame anyone for trying to make this work. In a world where everything gets recycled, of course Frasier Crane, the most successfully repurposed character of all time, deserved a shot at pulling off an impossible TV comedy trifecta following Cheers and the original Frasier. But on a solo mission, this thing was snake-bit from the start, something that’s made crystal clear when you watch or think back to the original’s pilot from 1993 and it’s near perfection.

Honestly, when it became clear that David Hyde Pierce wouldn’t return, that might have been the moment to abandon hope. Frasier isn’t iconic because of Frasier Crane alone. Grammer’s neurotic radio shrink is like the original show’s 5th best character (he’s ahead of Bulldog and Eddie the Jack Russell Terrier). But the interplay between all of them was the secret sauce from the start.

The death of the great John Mahoney created a gap that could never be filled on this show, and without him playing Martin, without David Hyde Pierce’s Niles, without Jane Leaves’ Daphne, and Peri Gilpin’s Roz, the new Frasier became a blank page. And after watching its first two episodes, it still feels that way.

The new characters – Frasier’s previously semi-abandoned son Freddy (Jack Cutmore-Scott), his roommate Eve (Jess Salgueiro), Niles’ son David (Anders Keith), and Frasier’s freshly introduced old friend (Nicholas Lyndhurst) and new co-worker (Toks Olagundoye) – are front and center, of course, but the blame for them not standing out early and often isn’t really theirs. Talented though they may be, they’re all playing characters that feel stock when compared to the originals, who from the start, possessed a slow burn allure that made you want to see how these relationships would develop.

While legendary TV director and Frasier alum James Burrows filmed the pilot (and other episodes), nearly none of the show’s credited writers (including its creators) worked on the original. The two decades of space make that detail unsurprising, but the tone of this show just feels very divorced from the original, even when they’re trying to hit us over the head with non-subtle nods. To be honest, even Grammer feels off the mark, as though he’s doing an impression of this character he played for about two decades, about two decades ago. (A detail that should also provide him some kind of shield. It’s been a long time!)

Listen, I know it’s unfair to directly compare the pilots for the original Frasier and this. Especially since the circumstances of each show and the space from when the audience last experienced Frasier Crane differs so much, but it’s inevitable and it’s extra damning.

In 1993, Frasier began with a wall of exposition as our hero lays out how his life fell apart in Boston and how he had made a choice to start anew. It’s concise, but more importantly, it’s inspiring and sets a tone where we’re rooting for this guy even though he can be a pretentious prick. It’s also grinningly funny when it turns out Frasier has been talking to thin air. In this new thing, our re-introduction is just as quick but hollow.

Spoiler, I guess, but Frasier quit his job, the relationship with Charlotte that he pursued at the end of the original series finale went 20 years before ending with little explanation (to us), and now he’s in Boston after Martin’s funeral to see some friends (no, not friends from Cheers) and Freddy before going off to Paris. There’s no real emotion behind any of this. It’s all matter-of-fact or surface. Not inspirational. And while a heartstring gets plucked by the fact that he wants to reconnect with his son, original Frasier fans will probably remember that Frasier was a bad dad who moved across the country when Freddy was a boy, and that the kid only appeared in 8 episodes across 11 seasons. (And hey, why did we need a Freddy re-cast? Trevor Einhorn is still acting.)

I’m not sure what this new Frasier misses most (besides its cast, writers, and Trevor Einhorn): it’s heart or its edge? Niles and Frasier’s sibling rivalry was delicious, but also complex. Evident in their first meeting and throughout the series, there was ample affection, but also a bouquet of petty jealousies and grievances. Martin’s live-in caregiver Daphne sort of just freaked Frasier out at the start with her psychic tendencies and absence of filter. Even Eddie the dog existed as a little tension monster, sitting on Frasier’s furniture and invading his home life. At work, Frasier’s no-bullshit producer Roz took great joy in taking the piss out of him. (It’s noteworthy how frequently the original focused on knocking Frasier down and how many times people — particularly other academics and students — fawn over him in this new show, which isn’t without takedowns, they’re just fewer and further between.)

The engine of the show, however, was Martin and Frasier’s relationship. The complexity of their situation was instantly obvious with their frayed bond and years of estrangement and uneasiness between them. And I mean instantly, through antagonism and frustration that’s both pregnant and expressed.

There is a scene in the original pilot that really differentiates these two shows. Frasier is sitting alone in his immaculately curated apartment playing piano before the doorbell chimes and he misses a key. He rises to answer the door and greet his father, whom he has begrudgingly agreed to let live with him. From that missed key to the varying looks of reluctance, sadness, ultimate resignation, and the mask of fake enthusiasm Frasier throws on once he opens the door, this is a comedy master class. A message delivered: creatively, meaningfully, and wordlessly about their very uncomfortable relationship and uneasy living situation.

With this show, Frasier is the interloper, but the edge is softened with humor that’s more broad and less intimate and pointed. Characters seem to say things, not because it makes sense for their characters, but because it fits a standard of what a sitcom should deliver. Emotional moments are outsized and quickly resolved, allowing things to move to the next set-up/punchline/EMPHATIC LAUGH TRACK even though those resolutions seem too quick or unearned.

As an example: Frasier comes off as unhinged when, after a heart-to-heart with his son, he overreacts and buys the building he lives in, flipping the power dynamic of the original with Frasier now able to force people to live with and around him on his terms rather than be put upon. Basically, it’s a horror comedy. And the second episode is no better, retracing familiar themes and moments from the original, but again, sped up. Always sped up. Frasier therapizes himself and Freddy and Frasier find common ground in their new apartment in record time. I’m not sure what emotional speed run will come next, but this show is living like it doesn’t expect to be around long. Like Daphne Moon, it might be a little bit psychic.

As an aside, we actually were psychic ourselves 5 years ago when we ran a list of suggested reboot ideas: the Frasier and Freddy reconciliation, moving back to Boston, Lilith popping up (at some point this season), Paris… it’s just a damn shame they didn’t go with the all-denim idea or post-apocalyptic Frasier. Trevor Einhorn would have looked badass with an eye patch! Scrambled eggs all over their face, I suppose.

Mike Lindell has given god only knows how much money to Donald Trump. Now he’s acting like him, too, by lashing out at late-night hosts.

Earlier this week, The Late Show host Stephen Colbert mocked the broke Pillow Man for claiming that he’s “lost everything, every dime” and can’t pay his lawyers. He even dressed up as Lindell — a.k.a. he wore a mustache — and smothered one pillow to death with another pillow.

Lindell addressed the public humiliation on Steve Bannon’s War Room podcast. “He’s such a scumbag,” he said, Newsweek reports. “Did I spell that right? S-C-U-M bag. I could’ve said it of lawyers, this guy is even worse.”

Lindell continued, “He attacked my employees directly, making fun of them. Gee, I want to protect my company, so I’m not going to continue with $2 million a month lawyer bills. I’m not going to let everything go down because of frivolous lawsuits and lawfare.” Colbert and his Late Night audience (which is code for “liberals”) “all laugh about my employees,” he added. “They have families, these guys have been with me for 20 years, we’re not going anywhere. And I know when I watch this, it just, it just sickened me.”

Lindell probably felt sick because he was watching the clip while eating dinner in a Hardee’s parking lot.

(Via Newsweek)