Sydney Sweeney is one of the popular actresses of her generation; she’s even been immortalized in song. The latest track named after the Euphoria actress comes from Chicago-based group Smut in the lead single from their just-announced album, Tomorrow Comes Crashing. “Syd Sweeney” is a crackling blast of indie punk with a vital message.
“Women in entertainment are exceptionally talented, smart and beautiful, because they have to be,” Smut vocalist Tay Roebuck said in a statement. “Sometimes they want to explore sexuality and vulnerability in their work. Then the pitchforks come out, how dare they be amazing AND sexual? You can only be one or the other! Why is talent and hard work seemingly erased once you’ve seen a woman naked?”
Roebuck (who is joined by guitarists Andie Min and Sam Ruschman, bassist John Steiner, and drummer Aidan O’Connor) continued, “It makes sense then to interpret it as a horror film, where we have the dividing tropes of final girls and sexy bimbos who die first for being too damn sexy. We put the sexy woman in the movie so we can see her be sexy and then kill her for it. It’s a lose-lose. Being a woman in art is to be objectified one way or the other. Success is the monster chasing you, waiting for you to be a little too sexy, knife ready.”
You can listen to “Syd Sweeney” above. Also check out Tomorrow Comes Crashing‘s album cover and tracklist and Smut’s 2025 tour dates below.
Smut’s Tomorrow Comes Crashing Album Cover Artwork
Smut’s 2025 Tour Dates: The Tomorrow Comes Crashing Tour
04/12 — Chicago, IL @ Not Not
04/25 — Tucson, AZ @ 191 Toole *
04/26 — Albuquerque, NM @ Sister Bar *
04/28 — Austin, TX @ Parish *
04/29 — Houston, TX @ White Oak Music Hall *
04/30 — New Orleans, LA @ Santos *
05/02 — Atlanta, GA @ The EARL *
05/03 — Asheville, NC @ The Grey Eagle *
05/04 — Washington, DC @ Union Stage *
05/06 — Philadelphia, PA @ Underground Arts *
05/09 — Brooklyn, NY @ Music Hall of Williamsburg *
05/12 — Detroit, MI @ El Club *
05/13 — Chicago, IL @ Lincoln Hall *
* with Spellling
Tomorrow Comes Crashing is out 6/27 via Bayonet Records. Find more information here.
Every year, new recordings are added to the Library of Congress’ National Recording Registry for the preservation of “culturally, historically, or aesthetically significant” sound recordings reflecting life in the United States.
This year, a trio of Brits headline the entries, including Amy Winehouse‘s 2006 album Back To Black, Sir Elton John‘s 1973 double album Goodbye Yellow Brick Road, and Brian Eno‘s Microsoft Windows 95 startup chime.
Also included: the Hamilton original cast album, Celine Dion’s “My Heart Will Go On,” Helen Reddy’s “I Am Woman,” Mary J. Blige’s My Life, Miles Davis’ Bitches Brew, Steve Miller Band’s “Fly Like an Eagle,” Tracy Chapman, a 1913 recording of “Aloha ‘Oe,” and even the Minecraft: Volume Alpha soundtrack (appropriate, what with the movie hitting theaters last week).
Non-songs/albums selected for preservation include 1960 World Series’ Game 7 radio broadcast and music historian Harry Urata’s field recordings of Japanese immigrants in Hawaii’s sugar plantations singing traditional folk songs (Holehole bushi).
In a press release, Librarian of Congress Carla Hayden said, “These are the sounds of America – our wide-ranging history and culture. The National Recording Registry is our evolving nation’s playlist. The Library of Congress is proud and honored to select these audio treasures worthy of preservation, including iconic music across a variety of genres, field recordings, sports history, and even the sounds of our daily lives with technology.”
It’s nice to know that at least one art of the government still works the way it should. We need to enjoy this, before those dorks in the White House bring their slash-and-burn tactics to the Library and the only thing left in there is Hitler speeches.
Last month, Megan Fox gave birth to her and Machine Gun Kelly’s first baby together (who is not named Celestial Seed). Given that the pair are frequently in the news for one reason or another, the comedic masterminds at The Onion recently came up with a terrific fake headline about them: “Megan Fox Confirms She And New Baby Will Co-Parent Machine Gun Kelly.”
MGK clearly got a kick out of it, as he shared an Instagram post of the headline on his Story yesterday (April 8), adding some crying-laughing emojis.
“LOS ANGELES — Expressing relief that they were both on the same page about custody, Megan Fox confirmed Friday that she and her new baby would be working together to co-parent Machine Gun Kelly. ‘The coming months are going to be exhausting, but knowing that I have this newborn by my side to help set a good example for MGK makes it a lot less scary,’ said the Transformers actress.”
“‘I’d almost forgotten how bad the late nights and the smell of vape smoke can be when you’re caring for a 34-year-old white pop-rapper, so it’s nice to feel emotionally supported by someone more mature for once.’”
“‘It was a lot of work to Machine Gun Kelly-proof this house, but the baby and I are just happy that, for now, he still has all his fingers and toes.’”
The headline is presumably a play on reports of Fox’s supposed thoughts about co-parenting with MGK.
Black Mirror premiered in 2011, the same year that Google+ and Siri were also introduced. Technology has changed a lot since then (Google shuttered its attempt at a social network due to consumer indifference and Apple’s digital assistant seems quaint compared to the rising threats of our AI overlords), and yet, Black Mirror is still on — with no end in sight.
“Hopefully [it will run and run]. Selfishly, it’s a fun job,” creator Charlie Brooker told BBC. “Technology is developing in the real world very quickly. That means there are more sources of inspiration, and… the viewer is experiencing more [technological] things in their everyday life. We can do stories that I wouldn’t have thought of 10 years ago, and also, you don’t need to explain some of the concepts to people because they’ve got it in their phone.”
Black Mirror extends this week on Netflix with the premiere of season 7, which Brooker described as “a little bit OG Black Mirror” and “back to basics in many ways.” Here’s everything you should know.
Plot
The TL;DR logline for Black Mirror season 7 is: technology is great, but also evil. Roll credits! But if you’re looking for a few more details about what to expect, here is the synopsis (and an image!) for all six new episodes:
“Common People”
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When a medical emergency leaves schoolteacher Amanda fighting for her life, her desperate husband Mike signs her up for Rivermind, a high-tech system that will keep her alive — but at a cost.
“Bête Noire”
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Maria is a high-flying development executive at a chocolate company. Everything is going well for her until someone she hasn’t seen since school — a woman named Verity — shows up for a focus group tasting session. It could be the chance for a heartfelt reunion, except there’s something very odd about Verity, and Maria seems to be the only person who notices.
“Hotel Reverie”
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Hollywood A-list actor Brandy Friday is thrown into an unusually immersive high-tech remake of a vintage romantic movie. She’s got to stick to the script if she ever wants to make it home.
“Plaything”
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An eccentric loner named Cameron, who harbors an obsession with a mysterious ’90s video game, is arrested in connection with a grisly cold case — and his interrogation soon goes to places the police weren’t expecting.
“Eulogy”
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An innovative system that enables users to literally step into photographic memories of the past leads a lonely man to re-examine a heartbreaking period from his past.
“USS Callister: Into Infinity”
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Robert Daly is dead, but the crew of the USS Callister — led by Captain Nanette Cole — find that their problems are just beginning.
Yes, that last one is a sequel to fan-favorite episode “USS Callister” starring the always-great Cristin Milioti. It might not be the only one in the show’s future. “We’ve done a sequel for the first time this season,” Brooker told The Hollywood Reporter. “We’re now looking at old episodes and thinking, ‘How could you revisit that idea?’ As long as it’s interesting, I’m allowed to make it and people continue to f*cking watch, I’d like to keep making the show.”
Cast
It’s a lengthy list, but here are some highlights: Rashida Jones, Chris O’Dowd, Tracee Ellis Ross, Siena Kelly, Rosy McEwen, Ben Bailey Smith, Issa Rae, Awkwafina, Emma Corrin, Harriet Walter, Peter Capaldi, Lewis Gribben, James Nelson-Joyce, Michele Austin, Paul Giamatti (!!!), Patsy Ferran, Cristin Milioti, Jimmi Simpson, Billy Magnussen, Milanka Brooks, and Osy Ikhile.
Will Poulter and Asim Chaudhry will also reprise their roles from interactive film Black Mirror: Bandersnatch. “It’s always so fun,” The Bear guest star told Tudum. “[Charlie] writes such spectacular episodes, and I was so grateful that he brought Colin back.” Poulter added that he’s excited for viewers to “meet the newest creations that are part of a secret project within Tuckersoft!”
Release Date
Black Mirror season 7 premieres on Netflix on April 10.
The song titles are a tip-off. With a Bon Iver album, they can be a difficult proposition. Ever since 2016’s 22, A Million, the tracklist for a Justin Vernon LP reads more like a menacing letter from a Zodiac-inspired serial killer than a rundown of songs. Random numbers and strange symbols are plentiful. Easily pronounceable words are not. But there is a method to the madness. When it’s a challenge to put a name to a song, that song becomes hard to pin down and decipher. Even when contained on a record by one of the biggest indie-rock stars of the last 20 years, the song remains elusive and enigmatic. And, by association, so does the artist.
But on SABLE, fABLE (the first Bon Iver album in six years, and the fifth overall), the song titles are shockingly comprehensible. Yes, there’s a song called “Speyside” — one of three tracks carried over from last year’s SABLE, EP — which is stylized in all caps with a space between each letter, a move designed to taunt typesetters everywhere while also possibly confusing Scotch liquor enthusiasts. And don’t overlook “There’s A Rhythmn,” with the intentional misspelling that may or may not reference the state of Minnesota, just because that seems like an extremely Bon Iver thing to do.
But what about one of the new album’s standouts, a duet with Danielle Haim called “I’ll Be There”? Vernon titling a song “I’ll Be There” is like Frank Zappa naming one of his sons John Frederick Zappa. It’s a weird act of uncharacteristic normalcy. And yet it suits the track, an art-rock love song with churchy chords and bedroom-sultry vocals that sounds like Luther Vandross as produced by Godley & Creme or Peter Gabriel after an intense six-month Sade phase. Vernon and Haim’s voices are distorted, but not as much as you might expect, and the disheveled rhythm track rubs up against the yacht-rock electric piano licks in a manner that’s warm and sensual rather than disorienting. It’s a vibe that evokes another relatively straitlaced song title from SABLE, fABLE: “Everything Is Peaceful Love.” Another high point of the LP, this song finds Vernon playing full-on with the sort of feel-good ’90s R&B he’s only hinted at on previous releases, and only via a mile-deep layer of effects, noises, and other assorted digitized alienation devices. This time, however, everything does instead seem peaceful love.
During his more-rigorous-than-usual press tour for SABLE, fABLE, Vernon has hinted that the album might mark the end for the project he launched nearly 20 years ago as a last-ditch vehicle for his emotionally charged and sonically adventurous indie-folk songs. His label, Jagjaguwar, has even called the record an “epilogue,” though the exact meaning of that, by design, is unclear. The fact is that every Bon Iver album since the second one, 2011’s Bon Iver, has been predicated to some degree on Vernon’s ambivalence about the popularity of Bon Iver. After the self-titled record made him even more successful, 22, A Million arrived as an actively hostile “anti-fame” response that, importantly, did not actually diminish Vernon’s celebrity all that much.
It helps that Vernon’s literal words have never mattered all that much to his art. Undoubtedly one of the most influential singer-songwriters of his era, Vernon’s innovation was to de-emphasize the centrality of lyrics in his songs and persona, at least as far as them being interpreted as direct statements about his life and well-being. Instead, he has expressed himself largely through sound — namely, the sonic texture of his music, of course, but also the way his voice can articulate feelings without being attached to discernible words with specific definitions. Which is another way of saying that his lyrics frequently make no bloody sense on the page, and yet nevertheless they communicate intuitive feelings and truths when sung. It’s how a Bon Iver song can instantly telegraph heartache and psychic turmoil to the listener while also being called “666 ʇ.” This approach also explains why Bon Iver has endured as many mid-aughts indie-folk acts have faded, and why he’s such a malleable influence for contemporary writers across so many genres, from Zach Bryan to Lil Yachty to Phoebe Bridgers to Mk.gee.
So, Justin Vernon can imply, once again, that Bon Iver might be finished. But the way he says such things always matters more. And with SABLE, fABLE, the feeling that he is more comfortable in his own skin than he’s been, maybe ever, in the Bon Iver guise is palpable. The songs from the SABLE, EP — yes, the comma is supposed to be there — announced this new “straightforward” Justin Vernon, and they are the most arresting songs here. Particularly the album-opening “Things Behind Things Behind Things,” his most enchanting slice of Bruce Hornsby-esque soft rock since “Beth/Rest.” (On that count, he nearly matches that track with “Home,” a beguiling gospel-Americana number.)
On “Things Behind Things” and elsewhere throughout SABLE, fABLE, Vernon returns to singing in his natural lower register, which automatically gives the songs a more grounded feel. While Vernon took his career to another level when he embraced his spine-tingling falsetto, using his “real” voice, as it were, seems like the most critical evolution of his “mid” career. Way back in 2008, when I interviewed him for the first time, he spoke disdainfully of that voice, saying it made him “sound like Hootie And The Blowfish.” But now, as a man in his 40s, he’s finally leaning into the brawnier aspects of his music.
“I think the last couple of years, I’ve been getting out of the hazy and trying to come more into the concrete,” Vernon recently told The New York Times, using Bob Seger as an example of the newfound directness he’s going for. “I’m not saying nothing bad about the old stuff, but now I’m just much more like, ‘Hey, we don’t got much time left to live — let’s be sexy.’”
My one quibble with that classification of SABLE, fABLE is that the previous Bon Iver record, 2019’s i,i, contains some of his most approachable music. The difference is that i,i felt like a “band” record intended to be performed live in arenas, in a way that the decidedly more intimate and homemade-sounding SABLE, fABLE does not. Working with producer Jim E-Stack, he’s given songs at the core of the record like “From” and “Day One” a lo-fi fuzziness that makes them sound almost like voice demos shared on the sly by a close friend.
Are these farewell messages? SABLE, fABLE closes with an atmospheric mood piece called “Au Revoir,” which sounds like something that you might hear over the closing credits of an art film you didn’t understand but nevertheless feel moved by. Naturally, there are no lyrics. But the message nevertheless comes through loud and clear.
SABLE, fABLE is out 4/11 via Jagjaguwar. Find more information here.
Getting locked out of your hotel room is an inconvenience, but having that happen while you’re naked is a nightmare. Well, it happened to Ed Sheeran once, as he revealed on a new episode of Call Her Daddy.
Host Alex Cooper asked Sheeran for an embarrassing moment of his and he shared the story:
“I’ve never said this publicly, but I’m gonna say it. I was playing a city in Europe, this was like 2018, 2019. And my best mate was out with his mom and his sister, and we sort of started drinking espresso… not espresso, what they called Cafe Patron, and then I went to bed and I got up in the middle of the night to have a pee, and I was sleeping naked. I walked out to have a pee, and then I hear a door close, I open my eyes, and I’m in the corridor, naked, no key. It’s like 4 a.m. and I’m like, ‘Oh my God [laughs], what am I gonna do?’
And I kinda look around and as I look around, it’s like CCTV, CCTV. I’m like, ‘Ooh, this is not good,’ and there was, like, room service, someone had room service, and I went to go and get the napkin and I put napkin on, clicked the lift, went down to the lobby.
Bear in mind, it’s like 4 a.m., there’s people working in the hotel. I just kind of walked with this thing and I was like, ‘Please, can you let me back in my room, and please can you not tell anyone about this?’ My security guard went to go wipe all the CCTV… well, he told me he wiped it. He might have kept it for blackmail later on down the line. But yeah, I think that’s the most embarrassing thing I’ve ever done.”
The third season of The White Lotus has been one of the biggest TV events of 2025 so far, but now it’s over with the airing of the season finale on April 6. The show has been successful at producing breakout stars, and this season, among them is Blackpink’sLisa, who thrived as White Lotus Thailand employee Mook in her debut acting role.
It’s been quite the journey for Lisa, and following the finale, she took a moment to reflect on it yesterday (April 8), by sharing a gallery of photos and videos from on set via Instagram.
She also wrote:
“What a ride.
Thank you Mike White for trusting in me to fulfill the role of Mook and bring her character to life.
It was the greatest honor to be part of this show as my first acting gig alongside such incredible actors.
And I’m so proud to be able to share my culture and show the beauty of Thailand to the world.
Mook has changed my life in a way where I am learning more about myself and my capabilities.
My Sunday nights may feel a lot emptier but closing out The White Lotus with a full heart [heart emoji][lotus emoji].”
Madonna is a global pop superstar. In most areas of life, that could be of great benefit to the “Like A Prayer” singer. However, in the realm of love her fame seems to be a thorn in Madonna’s side.
Although Andre said he didn’t want to put Madonna “front street,” but they did have “a little bit of chemistry.” However, Andre did not pursue things further because he was “way too intimidated.”
“That’s the queen of pop,” he said. “You can’t just waltz in there and start schtooping Madonna. You’ve gotta come in there with roses, you’ve gotta play Boyz II Men, you gotta drip chocolate candles… she needs to be romanced… She slept with 2Pac and Basquiat – you’ve gotta bring your A-game.”
While Andre is reluctant to take the leap, his sister is completely onboard or so he declared. “My sister called me and was like, ‘You need to bang Madonna, and I’m not taking no for an answer,’ and she hung up on me,” he said. “That’s a true story, but I’m too shy. […] F*ck it! Tonight, I will guarantee this audience, I will have sex with Madonna on this table! While Jimmy watches!”
So, to restore her fans’ support Cardi B has been breadcrumbing her future plans. Yesterday (April 7), Cardi B hinted at live performance plans. After an account on X (formerly Twitter) provided an update regarding the “Bongos” rapper’s net worth she dropped the nugget of information.
Cardi B did not divulge any further information about the forthcoming tour. However, an exchange with one fan seemed to confirm a timeframe for the shows.
“DON’T F*CKING PLAY LIKE THIS RIGHT NOW… I put this on my manifestation concert list,” wrote a fan referring to a wishlist for 2025 live shows.
Cardi B replied: “Oooommgggg I love you… I’m doing treadmill work just so I can be the best I can be.”
This interaction combined with Cardi B’s past remarks on Twitter Spaces that the body of work would drop before the weather breaks (around fall/winter), supporters are prepared to gather their coins for a potential summer run of performances. REVOLVE Festival 2025 attendees could get the first taste of Cardi B’s tour prep during Coachella’s Weekend 1.
Mac DeMarco is officially back. Today (April 8), the “Heart To Heart” musician announced his plans for the year with a corky video on Instagram.
Although Mac Demarco the clip (viewable here) is primarily filled with awkward silence, just before it ends a flash of three live performance schedules flashed across the screen.
If you missed it, in the post’s caption, DeMarco confirmed he will be hitting the road for a massive tour, which includes stops in the US, UK, EU, and Canada. DeMarco also revealed that his next studio album is on the way.
“Going on tour. Album out in August. C U THERE ,” he wrote.
The pre-sale for Mac DeMarco’s 2025 tour dates is schedule to kick off on April 9 at 10 am local time. The public sale will follow on April 10 at 10 am local time. Find more information here. Continue below to view Mac DeMarco’s view tour schedule and posters.
Mac DeMarco’s 2025 Tour Dates
08/29 — Los Angeles, CA @ The Greek Theatre
09/04 — Philadelphia, PA @ Franklin Music Hall
09/05 — Baltimore, MD @ The Lyric
09/08 — New York, NY @ Radio City Music Hall
09/09 — Boston, MA @ Roadrunner
09/20 — Berkeley, CA @ Greek Theatre
09/22 — Forest Grove, OR @ Grand Lodge
09/23 — Seattle, WA @ Paramount Theatre
09/24 — Vancouver, BC @ Queen Elizabeth Theatre
09/25 — Olympia, WA @ Capitol Theater at the Olympia Film Society
09/27 — Petaluma, CA @ The Phoenix Theater
09/28 — Petaluma, CA @ The Phoenix Theater
09/29 — Santa Barbara, CA @ Santa Barbara Bowl
10/21 — Amsterdam, NL @ Paradiso
10/22 — Rotterdam, NL @ Maassilo
10/25 — Paris, FR @ Salle Pleyel
10/27 — Prague, CZ @ Lucerna Velky Sal
10/28 — Hamburg, DE @ Docks
10/30 — Copenhagen, DK @ Vega
10/31 — Stockholm, SE @ Fallan
11/01 — Oslo, NO @ Sentrum Scene
11/03 — Berlin, DE @ Columbiahalle
11/04 — Cologne, DE @ Carlswerk
11/05 — Brussels, BE @ Cirque Royal
11/08 — Birmingham, UK @ O2 Academy
11/09 — Brighton, UK @ Brighton Dome
11/10 — London, UK @ Eventim Apollo
11/12 — Cambridge, UK @ Corn Exchange
11/13 — Bristol, UK @ The Prospect Building
11/14 — Manchester, UK @ Aviva Studios
11/17 — Dublin, IE @ National Stadium
11/18 — Dublin, IE @ National Stadium
12/03 — Halifax, NS @ Light House
12/04 — Moncton, NB @ Tide & Boar
12/06 — Québec City, QC @ Palais Montcalm
12/07 — Montreal, QC @ MTelus
12/08 — Toronto, ON @ Massey Hall
12/09 — Toronto, ON @ Massey Hall
12/13 — Winnipeg, MB @ Burton Cummings Theatre
12/15 — Saskatoon, SK @ TCU Place
12/16 — Edmonton, AB @ Northern Alberta Jubilee Auditorium
12/17 — Calgary, AB @ Mac Hall
12/19 — Victoria, BC @ Royal Theatre
Mac DeMarco’s 2025 Tour posters
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,” he wrote.
