Carrie Fisher‘s last movie is finally coming out, seven years after her death.
In Wonderwell, which is described as a “coming-of-age fairy tale set between modern-day Italy and an imaginary realm just beyond,” the Star Wars legend plays the “enigmatic” Hazel, who helps guide the main character.
“The journey we have taken as filmmakers with this movie, has been as perilous as that of the movie itself,” director Vlad Marsavin told Deadline about the delayed release. “From filming to screen it has taken us seven years. The visual effects on a movie of this magnitude takes time, but we were challenged with COVID lockdowns and of course the passing of our wonderful Carrie Fisher. Now is the perfect time to share her magical on screen moments as Hazel.”
Marsavin also shared a delightful story about how Fisher was always the life of the party.
“Carrie was full of energy during filming and even celebrated her 60th birthday with us in Italy where we shot the movie. After a night shoot, which went on until 2am, she invited the whole team to celebrate with her and the party ended up being shut down by the police because it was deemed a little too loud. Her passing was very emotional for the whole team.”
Wonderwell, which also stars Rita Ora, Nell Tiger Free, Sebastian Croft, and Kiera Milward, will have a limited theatrical run via AMC followed by a digital release from June 23, 2023.
Doja Cat fans are thirsty for new music, which is arriving soon. Today (June 14), she finally gave fans a taste of what to expect from her impending new era.
Her new single, “Attention,” drops this Friday, and is believed to be the lead single from her upcoming fourth album. In a clip shared on social media, Doja is seen arriving to a red carpet, which is filled with fans and photographers. She is seen sporting a shorter hairdo, which she began rocking last summer, and it looks like she will maintain this aesthetic over the course of the album cycle.
Though a snippet of new music can be heard for only a few seconds, it sounds like Doja may be taking on a more rock-influenced sound. Over rattling percussion, Doja raps “Look at me, look at me / You lookin’?”
Doja has been teasing the follow-up to Planet Her for the past few months now, but it’s not clear what the sound will consist of. She’s previously suggested that her fourth album will have a punk sound, as well as a pure rap sound, and even an EDM sound, so it could go in any direction at this point.
You can check out the “Attention” teaser clip above.
Fear The Walking Dead is finishing a final run on AMC, and next up, the first in a new crop of spinoffs will arrive. The Walking Dead: Dead City will reunite unlikely team Maggie and Negan for a Manhattan adventure that proves to be a thrilling throwback and should please fans of the more action-oriented parts of the original city.
The series does leave plenty of room open for a second season, if that does materialize, but how many episodes will we see for this spinoff’s first season? This will be a stark contrast of a series with a more narrow focus and a much less bloated total runtime. Season 1 contains six grime-soaked episodes, and once those finish rolling out, at least two other spinoffs (including a solo Daryl Dixon and the Rick Grimes/Michonne repairing) will eventually arrive.
Overall, Dead City is a leaner and meaner product with shades of the former Negan coming into view while he and Maggie search for Hershel, the son of Glenn and Maggie. However, these two newfound companions are anything but friends. That’s only to be expected.
Will see see any crossover action, though? Morgan previously declared that “the door is open” for overlap between spinoffs “because we are all on the same timeline.” Fingers crossed.
AMC’s The Walking Dead: Dead City premieres on June 18.
50 Cent‘s Sire Spirits brand and E. Rémy Martin & Co. have reached a settlement in Rémy Martin’s lawsuit over a copied bottled design. According to Billboard, the two companies reached a “confidential” settlement agreement on June 1 to drop the suit; details about payments or rebranding requirements have not been made public.
E. Rémy Martin & Co. sued Sire Spirits in 2021, claiming that the bottle design for the Sire cognac brand Branson had illegally imitated Rémy’s XO bottle, infringing on patent and trade dress rights. Sire’s response was to call the case “meritless” and accuse the legacy brand of trying to “destroy a competitor.” The Branson bottle was accused of being a deliberate effort to confuse consumers with its similar design.
However, US District Judge Alvin K. Hellerstein denied Sire’s motion to dismiss the lawsuit, saying, “This is not a case in which the claimed and accused designs are so plainly dissimilar that it is implausible that an ordinary observer would confuse them.”
A Rémy spokesperson told Billboard, “Rémy appreciates and respects Mr. Jackson’s entry into the Cognac market and the parties share a common vision for the future of this exceptional and precious spirit. The parties are gratified that this matter could be resolved amicably.”
Although a settlement might not be the outcome 50 Cent hoped for, he’s already been on a bit of a winning streak in court and probably didn’t want to push his luck — or pay out more legal fees. In February, he reached a settlement in his defamation lawsuit against The Shade Room, while in March, he won a lawsuit against a former employee who allegedly embezzled millions from Sire Spirits.
Last month it had been reported they had agreed, but details of it had not been revealed, as they had to file a motion by June 12.
Keough will pay a max of $400,000 in legal fees to Priscilla, who had previously petitioned a California judge to reportedly reject a supposed 2016 amendment to Lisa Marie’s trust as “invalid.”
Allegedly, this specific amendment wanted to remove Priscilla and a former business manager, Barry Siegel, as co-trustees. Instead, Keough and her late brother, Benjamin, would’ve taken their place of being in charge of Lisa Marie’s Promenade Trust.
In the settled agreement, Priscilla will still be a “special advisor” and will be paid a private, undisclosed amount for ten years (unless she passes) for her participation. Keough, overall though, is now Lisa Marie’s only trustee.
“The families are happy,” Priscilla’s lawyer, Ronson J. Shamoun, previously shared. “Everyone is happy, unified, together and excited for the future.”
There will be an additional follow-up hearing on August 4.
As The Flash prepares to zoom into theaters this week, the film will be DC Studios’ first stab at tapping its own multiverse of characters following a similar move by Marvel with Spider-Man: No Way Home. Much like that film brought back former Spider-Man actors Tobey Maguire and Andrew Garfield, The Flash will reportedly pull from various incarnations of DC Comics heroes from across the decades.
Obviously, the return of Michael Keaton and Ben Affleck as their versions of Batman are in the mix. The two have been prominently featured in trailers, but that’s just the tip of the iceberg. The Flash will reportedly feature even more Batmen and the same goes for Superman. Here’s what we know so far:
BATMAN
— According to reports, George Clooney’s Batman will have a cameo in the post-credit scene that has been left out of advance screenings to prevent leaks. (Clearly, that didn’t work.) The actor has repeatedly joked about never putting on his Batsuit with its infamous Bat-nipples again after starring in the critically derided Batman and Robin, but it looks like Clooney is well-versed in the art of superhero movie secrecy.
— In a more controversial move, Adam West’s Batman is also reportedly shown in the film but only briefly. We’d like to say West is the only deceased actor who makes a cameo, but well, hold that thought.
SUPERMAN
— Director Andy Muschietti already let this one out of the bag. Nicolas Cage has a cameo in the film as his live-action version of Superman that never came to be after Warner Bros. infamously pulled the plug on Superman Lives, which was set to be directed by Tim Burton. Cage would’ve been the first actor play Superman in a motion picture after Christopher Reeve’s iconic performance of the beloved character. Speaking of…
— Yup, they did it. In another controversial move, Christopher Reeve’s Superman is apparently seen several times in The Flash despite the beloved actor passing away in 2004.
— George Reeves’ Superman from the classic TV series also isn’t safe, but like West’s Batman, he’s only shown briefly in The Flash.
Justice League
— On top of the various Supermen, The Flash will also feature Helen Slater’s Supergirl from the 1984 film, and both Jason Momoa and Gal Gadot will reportedly have cameos as Aquaman and Wonder Woman.
Pop culture has become a neverending intermingling of media formats and personalities. What was once indie is now pop and what once existed in just a song has found new avenues in which to manifest itself. We’re living in a world where The National’s Aaron Dessner is now Taylor Swift’s go-to producer; deepening the indie and pop Venn diagram. And the spheres are increasingly extending beyond musical collaborations.
Indie artists like Dessner, Blood Orange’s Dev Hynes, and Daniel Lopatin of Oneohtrix Point Never are routinely being pegged to score the soundtracks to notable films. And while films they’ve scored like Cyrano, Queen & Slim, and Uncut Gems, respectively, have found varying levels of success, Grizzly Bear’s Daniel Rossen and Christopher Bear composed the score to director Celine Song’s A24-released Past Lives, a film that has become 2023’s first Oscar favorite.
“It still is a little bit of a mystery how it all came together,” Bear, Grizzly Bear’s drummer, jokes on a Zoom call. ”Grizzly Bear’s music was licensed in the past for films, but we’d never scored anything together, that’s for sure,” Rossen, the band’s guitarist and co-lead vocalist, adds.
Rossen says he’d never scored anything himself — at all — before this, and relished modestly in the new experience, especially given Grizzly Bear’s standstill since their last album, Painted Ruins, came out in 2017. Bear had helped Rossen “in a pretty involved way” on his 2022 solo album, You Belong There, providing drums and percussion for it. And while that laid a foundation for this newfound partnership, scoring a movie together was a new frontier.
“It’s been a while since we had worked on anything together so it was an exploratory thing to see what that would mean for both of us, given our separate studio setups for me in Santa Fe and Chris in LA,” Rossen says. ”I felt like it was a bit of a rediscovery process for us too, figuring out the scoring.”
While Rossen is new to scoring, Bear had scored the HBO series High Maintenance, where Past Lives star Greta Lee was briefly featured as far back as 2012. They said there was initial interest in some of Grizzly Bear’s music for the film, but the how and why of their involvement stops there. When you consider that Past Lives marks Song’s directorial debut, she’s clearly establishing her aesthetic across the board and the errr…grizzly pair, is a part of that. It’s likely that her film will help boost Rossen and Bear to be the next indie musicians in line to make a concerted push into Hollywood. And it’s one heck of a start.
Past Lives was a standout at Sundance in January as well as at the Berlin Film Festival the following month. It’s already out in LA in New York and will have its widespread release in theaters nationwide on June 23. It currently has a 97% score on Rotten Tomatoes and a Metascore of 93 on Metacritic, where it’s marked as a “must-see.” Out now, the soundtrack features Rossen and Bear’s grounding 15-track score, plus Sharon Van Etten’s Zach Dawes-produced “Quiet Eyes.”
The romantic drama tells the story of a Korean ex-pat (Lee) who moved to Canada in her youth and then eventually to New York City. She cultivates an online relationship of sorts with her childhood sweetheart (played by Teo Yoo), which fizzles in the long distance. She then eventually meets and marries a New Yorker (played by John Magaro) until one day Yoo comes to visit them in New York and she has to confront her past and present feelings for both men. It’s a story that’s a very real one for a number of immigrant Americans, packed with emotional nuance that hasn’t been told with this much candor on the big screen; an amazing and brutal reminder of the past and an essential story in today’s America.
All the while, Bear and Rossen manage to capture the passage of time beautifully with their music. As Song’s film jumps from time periods and cities with an incredible flow, the composers find ways to stitch senses and memories together. Big cellos and wistful keys guide a scene during a montage of the characters communicating intercontinentally. Shots of New York City and Seoul seesaw along with the evocative strings and gentle synths of “Crossing II” and “Why Are You Going To New York.” It’s a gorgeous score that captures love, longing, nostalgia, whimsy, hope, coincidence, and anxiety in its many forms, and then some. Through it all, the music transcends whatever the language being spoken is and builds the artfulness of Past Lives’ scenes and locales.
Bear explains that while working remotely in their respective studio spaces, he and Rossen built a sort of matrix of emotions for plotting out sounds. A visual that they could use to keep things focused throughout the film’s many arcs.
“In the end, we had started developing those thoughts and where those themes would reappear into a color-coded graph where we’d say, ‘these three things are related because they’re telling this story,’” Bear says. “And then there’d be certain cues mainly focused on one of the themes in the film but maybe more of a theme related to Nora (Lee) and Arthur’s (Magaro) relationship, but then also still leaving in hints from her childhood relationship. We’d figure out interesting ways of intermingling those while simultaneously trying to do that so it’s not overbearing or bonking over the head…to let the viewer have their own feeling and have their own emotional interaction.”
It’s just Rossen and Bear playing every single instrument on the score. There’s no backing orchestra in a grand studio to support them. Bear played piano and applied different synth textures, while Rossen played guitar and piano while adding more acoustics “around the edges,” including cello, an upright bass, and “little horn parts.” Bear dipped into expansive synth arrangements, percussion, and vibraphone, angling to assign each instrumental “a character that was unique.”
“Chris really took a strong lead in a lot of the score,” Rossen says. “Not that he didn’t do that in Grizzly Bear, but we had slightly more set roles in the band and this was a lot more open.”
As for the state of the band, they contend that Grizzly Bear is in the same place it has been for the past six years: Not split up and just up in the air. “The band exists as an idea dislodged from time,” Rossen jokes. I semi-seriously suggest to them that it’s only a matter of time before a certain corporate promoter approaches them about a band reunion for a nostalgic festival appearance. Rossen takes that in stride and chides that, “I always say eventually we’ll get desperate and do our Vegas casino tour.”
But they give off the sense that a reunion is far from imminent. Bassist/producer Chris Taylor lives in Spain, while singer Ed Droste has been pursuing a new career as a therapist. Meanwhile both Rossen and Bear have put out solo projects in recent years and now this score. But if the attention that Past Lives is getting continues to grow as the film reaches its widespread release date later this month, there might be a lot more film composing gigs in the future for them.
“This felt like a big one, like an important role,” Bear says. Before Rossen adds, “I think we’d be into doing something like this again, yeah.”
It’s hard to go anywhere without hearing the lyrics “I’m outta town, thuggin with my rounds” thanks to Sexyy Red’s Tay Keith-produced summer anthem, “Pound Town,” which is why she had to stop by Uproxx to speak to our very own Cherise Johnson and gives the lay of the land with “Sexyy Red’s 5 Laws of Pound Town.”
While the song is raunchy, downright fun and easily relatable, there are rules you must follow when you go to Pound Town. The first law of Pound Town is: Condoms. Sure, Sexyy is all for having a good time, but safety and sexual health comes first! The rest of the laws follow the same tone of responsibility, fairness, and hygiene.
With mind-blowing lyrics like “my coochie pink / my booty hole brown,” the self-proclaimed hood hottest princess speaks on what a night in Pound Town is like in its descriptive, adrenaline-fueled glory. It’s really the best place to be for showing out, but in a fresh and safe way.
Watch Sexyy Red’s 5 Laws Of Pound Town with UPROXX below.
Sexyy Red’s rise to fame has also been studded with a Nicki Minaj collab, who is featured on “Pound Town 2,” the remix for the viral hit. Sexyy also just released her new album Hood Hottest Princess, which features eleven songs proving exactly why she’s a star.
It’s hard to go anywhere without hearing the lyrics “I’m outta town, thuggin with my rounds” thanks to Sexyy Red’s Tay Keith-produced summer anthem, “Pound Town,” which is why she had to stop by Uproxx to speak to our very own Cherise Johnson and gives the lay of the land with “Sexyy Red’s 5 Laws of Pound Town.”
While the song is raunchy, downright fun and easily relatable, there are rules you must follow when you go to Pound Town. The first law of Pound Town is: Condoms. Sure, Sexyy is all for having a good time, but safety and sexual health comes first! The rest of the laws follow the same tone of responsibility, fairness, and hygiene.
With mind-blowing lyrics like “my coochie pink / my booty hole brown,” the self-proclaimed hood hottest princess speaks on what a night in Pound Town is like in its descriptive, adrenaline-fueled glory. It’s really the best place to be for showing out, but in a fresh and safe way.
Watch Sexyy Red’s 5 Laws Of Pound Town with UPROXX below.
Sexyy Red’s rise to fame has also been studded with a Nicki Minaj collab, who is featured on “Pound Town 2,” the remix for the viral hit. Sexyy also just released her new album Hood Hottest Princess, which features eleven songs proving exactly why she’s a star.
The 2023 NBA Draft is next week, and unsurprisingly, there seem to be an endless supply of rumors about players, picks, and whatever else that could shake up the order of things beyond the San Antonio Spurs picking Victor Wembanyama first overall. In recent days, one of the more prominent rumors is that the New Orleans Pelicans are willing to make a big move up the board in an effort to bring in G League Ignite guard Scoot Henderson.
The Pelicans are able to put together quite the package of picks, as they have a number in their war chest of assets from the trades that sent Anthony Davis to the Los Angeles Lakers and Jrue Holiday to the Milwaukee Bucks. But according to ESPN’s Brian Windhorst on Wednesday’s edition of Get Up!, folks around the league wonder if New Orleans may be willing to put its former No. 1 overall pick on the table in an effort to catapult themselves to the top of the draft.
.@WindhorstESPN explains the likelihood of the Pelicans trading Zion Williamson and moving up in the draft to go after a guy such as Scoot Henderson pic.twitter.com/OoqZ3Scs4L
“It makes you not take too far of a leap to wonder, and the league is certainly wondering, if the Pelicans are gonna make, for the first time truly, Zion Williamson available ahead of next week’s draft,” Windhorst said. “To get up to that level in the top-5, you have to consider a player of this caliber, who’s obviously had injury history, a little bit of offseason drama recently. So, don’t know if anything’s gonna truly develop there, but I think it’s fair to say based on my conversations, there’s an eye being kept towards whether the Pelicans would make Zion Williamson available ahead of trying to get into that top end of the draft.”
It would, obviously, be a gigantic development if the Pelicans were to put Williamson on the table in trade talks, but it’s worth mentioning that there hasn’t been any clear indication they have done that. For how excellent Williamson has been when he’s gotten on the floor during his NBA career, he’s only been able to appear in 114 games across four seasons due to injury issues, which included only 29 games this past season.
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