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Starting with 2018’s Bumblebee, the Transformers movies began to move away from the hyper-stylized aesthetic of the Michael Bay movies, which had officially wore out their welcome after five films. Bumblebee sought a return to the more classic look of the robots from their early cartoon days, and the latest installment, Transformers: Rise of the Beasts, continues that trend as it slams into theaters this week.

Directed by Steven Caple Jr., Rise of the Beasts is getting wildly different reactions from critics. While some are here for the Saturday morning glee and a reverence for the characters that was missing from the Bay films, others called the latest installment “disposable” and blasted Rise of the Beasts for being another CGI mess.

You can see what the critics are saying below:

Mike Ryan, Uproxx:

Honestly, this is one of the least convoluted Transformers stories that has been made. I honestly don’t think I could tell you the plot of any of the six other movies except for Bumblebee. (I think the fifth one involved King Arthur? Am I making that up? That really happened?) And it’s obvious Caple Jr. actually likes the Transformers and treats them as actual characters.

Owen Gleiberman, Variety:

The film was directed by Steven Caple Jr., who made “Creed II,” the most prosaic entry in the “Creed” series, and when I say that he has staged “Rise of the Beasts” in a scruffy plain grounded way, I mean that as a (moderate) compliment. The film invites you in. Set in a hip-hop-inflected 1994, it’s got a relatable human story that works, and thanks to a script that actually has sustained bursts of dialogue, the robots felt more real to me as characters than they usually do.

Frank Scheck, The Hollywood Reporter:

Director Steven Caple Jr. (Creed II) steps up to the plate nicely, with this massive production representing a major departure from the smaller-scale films he’s previously helmed. (Of course, it helps to have Michael Bay and Steven Spielberg among the producers.) The many, many action sequences are spectacularly conceived and executed, including a car chase on the Williamsburg Bridge that’s probably still tying up downtown traffic.

Matt Donato, IGN:

Rise of the Beasts is a course correction that unites beloved Transformer clans, introduces decent human characters, and spotlights metal-crunching action that’s an upgrade from the nondescript animated slop we’ve been served in Michael Bay’s last few movies. It’s certainly not going to win over the Academy (outside a possible special effects nomination), but director Steven Caple Jr. executes Rise of the Beasts as a get-the-job-done summer crowd-pleaser that makes me feel like a kid watching Saturday morning cartoons again, only on a grander and more exciting scale.

Germain Lussier, io9:

If you’re a fan of Transformers, you are going to like Rise of the Beasts. It’s got everything that makes these movies worth watching and more. If you don’t like Transformers, there are certainly weaknesses to focus on, but the film’s earnestness and passion for its characters attempts to rise above that. Along with a lot of super fun action, of course, which is always good. Either way, it’s just nice to have another Transformers movie that fans can point at and say “Look, it’s possible to do something of merit with these characters,” because Rise of the Beasts is definitely that.

If you don’t want to read scathing reviews about your favorite robots, you might want to turn back because these critics did not hold back their thoughts on sitting through a seventh Transformers film:

Siddhant Adlakha, Polygon:

Rather than putting in the legwork to make audiences care about the characters, the film only apes the aspects of Marvel’s shared-universe climax that don’t work in isolation: the nondescript, wide-open setting, and the anonymous legion of faceless enemies that might as well be a sea of metallic goop. The live-action Transformers movies have always been hard to look at, but with Bay at the helm, they at least felt like the work of a deranged madman allowed to run wild with a camera and VFX budget for the sake of experimentation. (He’s made plenty of good films outside the Transformers sandbox.) Instead, this time around, the experiment appears to be a studio testing the limits of what technically qualifies as a Transformers film — or a film in general.

Charles Bramesco, The Guardian:

While scanning the haphazard, oppressively grey compositions onscreen, one will eventually notice that the Transformers have faces, yet lack expressions. Like the assorted critters of Disney’s unholy photorealistic remakes, no emotion animates these animated creations, a lack of spark unsettling until it turns plain depressing. Every trace of personality has been scrubbed from a series that could once claim the cold consolation of being bizarre in its badness. Even the movies about the hulking, anthropomorphic heaps of space junk require some semblance of a human touch.

Katie Walsh, Los Angeles Times:

It took five screenwriters to come up with this utter nonsense that has all the dramatic intrigue and emotional depth of a “Transformers” Saturday morning cartoon. “Transformers: Rise of the Beasts” feels like a film that is at war with itself as Caple Jr. tries to balance character work with the profoundly silly Autobot lore, which talents such as Michelle Yeoh dutifully recite (she voices the eagle bot Airazor). Unable to rise above this internal conflict, it’s a film that’s both dull and disposable.

Transformers: Rise of the Beasts rolls into theaters on June 9.

If conservatives weren’t up in arms with the Tool’s Maynard James Keenan onstage wardrobe, then this fall, they are in for a world of emotional hurt. The singer and all of his performance drag glory will be traveling the world beginning in September along with his Tool bandmates for their fall 2023 North American tour.

Kicking off the 28-date run, the “Ænema” musicians will take the stage at the Louder Than Life Festival on September 22 in Lousiville, Kentucky. Between solo dates, the rockers will appear at several music festivals, including Aftershock and Power Trip. The group was sure to keep their Canadian fans in mind during this tour run. Tool will play multiple dates in the country for the first time since 2019.

As an added bonus, the band will offer a limited number of VIP packages, including premium tickets, sound check access, and exclusive merchandise. To view Tool’s fall 2023 North American tour dates, continue below.

Tool’s members-only presale starts on Thursday, June 8, at 10 a.m. local time. While the general public ticket sale will begin on Friday, June 9. Find more information here.

09/22 — Louisville, KY @ Louder Than Life Festival
10/03 — Loveland, CO @ Budweiser Events Center
10/06 — Sacramento, CA @ Aftershock Festival
10/08 — Indio, CA @ Power Trip
10/11 — Salt Lake City, UT @ Delta Center
10/12 — Idaho Falls, ID @ Mountain America Center
10/14 — Nampa, ID @ Ford Idaho Center
10/15 — Spokane, WA @ Spokane Arena
10/17 — Eugene, OR @ Matthew Knight Center
10/19 — Portland, OR @ Moda Center
10/20 — Tacoma, WA @ Tacoma Dome
10/22 — Kelowna, BC @ Prospera Place Arena
10/23 — Vancouver, BC @ Rogers Arena
10/27 — Calgary, AB @ Scotiabank Saddledome
10/29 — Winnipeg, MB @ Canada Life Center
10/31 — St. Paul, MN @ Xcel Energy Center
11/01 — Milwaukee, WI @ Fiserv Forum
11/03 — Knoxville, TN @ Thompson-Boling Arena
11/04 — Charleston, WV @ Charleston Coliseum
11/06 — Rochester, NY @ Blue Cross Arena
11/07 — Allentown, PA @ PPL Center
11/10 — Uncasville, CT @ Mohegan Sun Arena
11/13 — Manchester, NH @ SNHU Arena
11/15 — Boston, MA @ TD Garden
11/16 — Philadelphia, PA @ Wells Fargo Center
11/19 — Montreal, QC @ Bell Center
11/20 — Toronto, ON @ Scotiabank Arena
11/21 — Toronto, ON @ Scotiabank Arena

WARNING: spoilers for Spider-Man: Across the Spider-Verse

There are roughly 300 Spider-People in Spider-Man: Across the Spider-Verse, but it feels like thousands.

Insomniac Spider-Man from the video games? He’s in there. Web-Slinger, a.k.a. Cowboy Spider-Man? You better believe it. Spider-Popsicle? That’s right. We won’t be able to count them all until Spider-Man: Across the Spider-Verse is on streaming, but one of the more obvious cameos was Donald Glover, not as Spider-Man, but as the human version of Miles Morales’ uncle, Aaron. It was a fun nod to the actor’s role in the MCU’s Spider-Man: Homecoming, as well as the #donald4spiderman campaign that made it all the way to Community.

“It was shot at a studio in New York,” co-director Kemp Powers told Variety about how the Glover scene came together. “Chris Miller flew to be there in person, and Phil Lord and I were on the video feed giving direction. We got it in at the 11th hour. As a matter of fact, even in audience preview screenings, it was a little cardboard cutout of Donald Glover.”

Co-director Joaquim Dos Santos added, “We knew it was still going to land, though, because the idea of it still got people geeked. That’s when you know you have something.”

The cardboard cutout could work for getting Glover into the Community movie, too, except he won’t be replaced. The cutout will remain in the film as a meta commentary about Community not having Spider-Man money. Even $70 (plus another $33 for three-day shipping) might be pushing it.

(Via Variety)

Jenny Lewis did a recent interview with Rolling Stone ahead of her next solo album, Joy’All. During it, she spoke about everything from the record’s creation to touring with Harry Styles.

Lewis also was asked about her thoughts on heading out for The Postal Service’s upcoming anniversary tour — and if a Rilo Kiley reunion would ever happen. Fans might have a little more hope based on her answer.

“I’m open to it, for sure,” she responded. “It just has to be the right alchemy and the right timing. I think we owe it to each other to play those songs again, because that’s the magic of being in a band. It’s just the four people in a room and the energy that creates.”

In 2020, Rilo Kiley released their rare 1999 self-titled album on streaming services, giving all fans a chance to hear the songs.

She added her thoughts on where Rilo Kiley might fit in on the current state of the festival circuit.

“I mean, I don’t think we’d be headlining,” Lewis noted. “Maybe seven years ago. Not at Coachella now. We’d probably be on the second stage… The first couple years of Coachella, I was there. I played eight of them over the years, and the last time I went was for Sunday Service.”

“By [2019], the festival had shifted,” she continued. “It was all LED screens. You’re like, ‘Whoa. This is where I saw Leonard Cohen play and Jimmy Eat World. [Now] it’s Ariana Grande,’ which is great and fun, but it’s a different festival. Is there an older person’s festival that my bands would play at?”

Joy’All is out 6/9 via Blue Note/Capitol Records. Find more information here.

Last Friday, Foo Fighters released their 11th album, But Here We Are. And the reviews have been almost unanimously raptrous. Perhaps this was to be expected, given the goodwill toward the band in the wake of Taylor Hawkins’ death in 2022 and the fact that this album addresses the tragedy more or less directly. But that doesn’t account entirely for the intensity of the praise — several outlets, including those not known for normally loving mainstream legacy rock bands, have declared that But Here We Are is the best Foo Fighters album in decades.

Are those people correct? Before I attempt to answer that question, let’s review the three tiers of Foo Fighters albums.

Now, these tiers have been determined by me, and my assessments of each record’s merits is obviously subjective. However, I would argue that these tiers are very close to being objectively true, as Foo Fighters are a band in which the good work is extremely well delineated from the decent and mediocre work. (Obvious opposite examples are bands like The National, Spoon and Yo La Tengo that have four or five albums that could be credibly classified as “best.” Foo Fighters have three at the most, and probably only two and possibly just one.)

Here are the Foo tiers, with the corresponding albums listed in chronological order:

TIER 1 FOOS

Foo Fighters (1995)
The Colour And The Shape (1997)
There Is Nothing Left To Lose (1999)

TIER 2 FOOS

One By One (2002)
In Your Honor (2005)
Echoes, Silence, Patience & Grace (2007)
Wasting Light (2011)

TIER 3 FOOS

Sonic Highways (2014)
Concrete And Gold (2017)
Medicine At Midnight (2021)

Two notes about these tiers. One, Wasting Light almost went into Tier 1, so while I listed the albums within each tier chronologically that one should, in terms of quality, be put at the very top of Tier 2. (Or perhaps on an island between Tiers 1 and 2.)

Two, I am obviously making the case that each era of the Foos — late ’90s, the aughts and early ’10, and the ’10s into the early ’20s — is slightly worse than the one that preceded it. I suspect a contingent of hard-core fans will vehemently disagree with this, and accuse me of constructing the tiers in the laziest fashion imaginable. But I can defend the tiers by explaining how I see the arc of the Foo Fighters’ career — and why But Here We Are bucks the trend and belongs with the band’s best work in Tier 1.

When I look at the albums in Tier 1, there are all, in some sense, reboot records. Foo Fighters is a reboot from Nirvana. This is hard to remember now, but Dave Grohl was the least famous person coming out of that band — at the time Krist Novoselic was Kurt Cobain’s acknowledged sidekick, and Pat Smear already had a pedigree with The Germs. And there was also very little precedent for a drummer who heretofore did not sing lead or contribute much in the way of songs to his previous band establishing a meaningful solo career. That Foo Fighters sounds relatively low-key and unassuming compared with the later albums is not incidental. While the debut became a surprise hit, it doesn’t seem like it was made to be a hit. That’s a big part of its charm.

With The Colour And The Shape, Foo Fighters rebooted again, this time from a one-man side project to a full-on alt-rock juggernaut. Then, with There Is Nothing Left To Lose, there was yet another reboot, this time as a pared-back three-person lineup. (Grohl was also reeling from a recent divorce.) Both records produced deathless radio singles, but they were also melancholy and introspective. Dave Grohl hadn’t developed his “Mayor Of Rock” persona yet, because his band wasn’t stable enough for him to have that kind of confidence. Instead, the vibe of the Foos was very much captured by the title of their third record. Grohl’s professional life by then had already been rocked by the shocking death of a bandmate, so he responded like a man playing with house money. There really was nothing left to lose.

In the aughts and beyond, however, Foo Fighters settled into being one of the world’s preeminent stadium-conquering bands. And Grohl gradually became preoccupied with “representing” rock music as best he could at the center of culture. Their music grew broader, more bombastic and bludgeoning, and less melodic. In time, the albums started to blend together. They felt like adjuncts to other projects: concert tours, HBO TV shows, comedic horror movies, best-selling memoirs. But because Foo Fighters were very successful at being this version of Foo Fighters, there was little reason to think it would ever change.

Enter But Here We Are, their first reboot album since There Is Nothing Left To Lose, and the only Foo Fighters record made under more trying circumstances than the self-titled debut. Here’s where I’ll join my fellow critics in praising it as their best work since the late ’90s. I’m a little concerned about overstating how good this album is because I’m frankly shocked by how much I like it, given my indifference toward the Foos’ work over the past dozen or so years. But I think it deserves the accolades.

Going in to But Here We Are, I wasn’t sure what to expect. Clearly the loss of Hawkins was going to be a focal point, but there was little reason to expect that Grohl would be forthcoming about his feelings. For a guy who made a documentary series and wrote a book covering portions of his personal background, Grohl has tended to be guarded as a public figure. He lets us know what he wants us to know, and very little else. We know he’s a likable and charming guy, but that public image is only skin deep. That might very well be a defense mechanism for one of the world’s most famous rock stars who now is adjacent to two of the most infamous rock-star deaths of the last 30 years. But it has sometimes made his music feel more like collections of “rock song” signifiers than personal expressions.

However, this new album, obviously, is very personal. It’s natural to put But Here We Are under the same microscope that critics put Foo Fighters after Kurt Cobain’s passing. Only this time, you barely have to squint to notice lyrical allusions to Hawkins. “I’m just waiting to be rescued / bring me back to life,” Grohl sings in the chorus of the opening track, “Rescued.” On the second song, “Under You,” he’s even more direct: “Someone said I’ll never see your face again / Part of me just can’t believe it’s true / Pictures of us sharing songs and cigarettes / This is how I’ll always picture you.”

It’s not just that Grohl writes about Hawkins with unusual (for him) candidness. It’s how he writes about him. When I found myself feeling more moved than I expected by But Here We Are, I noticed it was because these songs of grief are written like they’re about romantic breakups. “I gave you my heart / but here we are,” he hollers on the title track, effectively delivering one of those classically insistent, do-or-die Foo Fighters choruses. On the album’s best cut, “The Glass,” Grohl sighs over a power-pop bounce, “I found a version of love, and just like that / I was left to live without it.” Later on the song “Nothing At All,” over a quasi-new wave reggae rhythm that evokes The Police, he says that this love has “put me into your locket / and pulled me off of the ledge.” You realize by the end of the album that Grohl isn’t merely singing about a bandmate, he’s mourning a soulmate. And that raises the stakes. In the heartbreaking album closer “Rest,” he envisions a reunion fit for the love of your life: “In the warm Virginia sun, there I will find you.”

This emotional resonance is the obvious selling point for But Here We Are. But the album’s secret weapon is the music, which offers an unexpectedly breezy counterpoint to the heavy lyrics. In a pre-release statement, the band likened the album to the homey 1995 self-titled LP. But I think it more closely resembles their most melodic and Beatlesque record, There Is Nothing Left To Lose, which perhaps not coincidentally is the album where Grohl and Hawkins sealed their bond as the band’s core. You hear the moody, jangly beauty of Lose most clearly on “Show Me How,” which includes a harmony vocal by Grohl’s daughter Violet that sounds almost identical to Phoebe Bridgers. (I actually assumed it was Bridgers during the first few listens, given that Bridgers seems to guest on every big album these days.)

The miracle of But Here We Are is that while it’s the Foo Fighters record made under the most duress, it’s also the rare instance where Dave Grohl isn’t trying too hard to make something “more” or “bigger” than just another Foo Fighters album. Even “The Teacher,” the penultimate 10-minute epic that’s really five or six tracks squeezed into one, doesn’t aim for mythic status as a world-changing face-melter. It just sounds like a guy working through one of the worst times of his life. It’s Dave, for once, showing us how hard it is to be Dave. And while it’s sad, it’s also refreshingly down-to-earth and human.

For two years, the professional golf world has been battling each other over the breakaway Saudi-backed LIV Golf tour poaching away some top talent from the PGA Tour and DP World Tour (formerly the European Tour).

Golfers who left for LIV were banned from the PGA Tour, leading to lawsuits filed by some former players and the tours against each other. It has all been very messy, but ever since this year’s Masters, there has seemingly been a cooling of tensions between the LIV world and the PGA and DP World Tours. Brooks Koepka contending at Augusta and then winning the PGA Championship only further complicated matters within the rift, as the majors (which aren’t under the umbrella of the PGA Tour) had allowed all qualified parties to continue competing. With the Ryder Cup upcoming, where LIV golfers likely weren’t going to be selected but Koepka was going to qualify on points just off of his major success, there was some impetus on all sides to figure out how to coexist.

The result was a stunning announcement on Tuesday morning that the three entities were merging with one another to bring LIV Golf’s team concept under the umbrella of the two Tours, with the Saudi Public Investment Fund remaining as the lead stakeholder.

The PGA TOUR, DP World Tour and the Public Investment Fund (PIF) today announced a landmark agreement to unify the game of golf, on a global basis. The parties have signed an agreement that combines PIF’s golf-related commercial businesses and rights (including LIV Golf) with the commercial businesses and rights of the PGA TOUR and DP World Tour into a new, collectively owned, for-profit entity to ensure that all stakeholders benefit from a model that delivers maximum excitement and competition among the game’s best players.

There were a number of reasons for the various Tours to all look to reach this agreement, and that was laid out in one of the early paragraphs of the release where part of the agreement includes dropping all legal action against each other. None of the Tours wanted to go deep into discovery on lawsuits, and this will allow them to drop all of that and move forward.

Notably, today’s announcement will be followed by a mutually agreed end to all pending litigation between the participating parties. Further, the three organizations will work cooperatively and in good faith to establish a fair and objective process for any players who desire to re-apply for membership with the PGA TOUR or the DP World Tour following the completion of the 2023 season and for determining fair criteria and terms of re-admission, consistent with each Tour’s policies.

On the LIV side, it gives them a better chance of continuing to exist long-term, as there have been rumblings some players are not exactly thrilled with the situation and were going to be exploring how to return to the PGA Tour and DP World Tour whenever their contracts ran up. This allows them to do that, but also seems to ensure LIV won’t completely fade away — and might be able to land a TV deal that isn’t on the CW — in the near future.

From a golf perspective, this brings all the best players in the world closer to playing against each other again, which we’ve seen in the majors has been something we’ve been missing. That said, the PGA Tour going into business with the PIF will only raise questions about how involved the Saudis will be in PGA Tour business, with it being very difficult for the Tour to shrug off given one of the main points of attack on LIV has been the human rights atrocities committed by the Saudis and how blatant LIV Golf was as a sportswashing attempt — especially given the announcement includes this nugget: “PIF’s Governor Yasir Al-Rumayyan will join the PGA TOUR Policy Board.”

Those questions won’t just come from the outside, as many PGA Tour players were apparently blindsided by the announcement.

Given how outspoken some PGA Tour players were against LIV Golf for the reasons of where the money was coming from, there may be some internal blowback coming the Tour’s way.

Young Thug’s brother Unfoonk has been sentenced to nine years in prison for violating the terms of his probation, according to Rolling Stone via the Atlanta Journal-Constitution. Unfoonk, whose real name is Quantavious Grier, pled guilty to violating Georgia’s RICO Act and theft by receiving stolen property in December and was granted release with time served. He was given 10 years probation in lieu of 12 years in prison.

However, on May 4, he was arrested on suspicion of possession of a firearm by a convicted felon, violating his probation. Some of the other terms included not associating with any other suspected member of the alleged YSL gang/record label, 750 hours of community service, and a 10 am to 6 pm curfew. During the sentencing hearing on Monday (June 5), Judge Ural Glanville noted Unfoonk hadn’t begun his community service or paid his probation fees: $141.08. He’s quoted in Rolling Stone‘s report saying:

“The issues I find aggravating in this particular circumstance are several. You got arrested with a gun within six months of you being placed on probation. All you had to do was complete your probation and do what you were supposed to do. Instead, you were out riding around with a gun in your car.”

Unfoonk was among a dozen alleged YSL co-conspirators to accept a plea deal in exchange for his release, including Gunna. All of them maintain that their Alford pleas do not constitute “snitching” — although the hip-hop community at large appears to disagree.

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

Prince Harry has delivered a scathing testimony against Piers Morgan in the trial that accuses the British journalist of allegedly being aware of the phone hacking of celebrities, politicians, and royal family members during his time as editor for The Daily Mirror. Harry also accused Morgan of allegedly launching an “intimidation” campaign against both he and Meghan Markle in hopes they would stop pursuing the phone hacking accusations.

Harry’s written testimony was delivered to the London High Court and notably blasts Morgan over the torment of Harry’s mother, Princess Diana, during the time before her tragic death. Morgan has denied any knowledge of phones being hacked during his roughly nine year run as editor of The Daily Mirror.

Via Deadline:

“The thought of Piers Morgan and his band of journalists earwigging into my mother’s private and sensitive messages (in the same way as they have me) and then having given her a ‘nightmare time’ three months prior to her death in Paris, makes me feel physically sick,” Prince Harry said.

Harry went on to rebuke Morgan’s alleged campaign to get the royal couple to abandon the phone hacking case.

“Unfortunately, as a consequence of me bringing my Mirror Group claim, both myself and my wife have been subjected to a barrage of horrific personal attacks and intimidation from Piers Morgan,” Harry wrote. Unfortunately for Morgan, Harry has now become the first senior member of the royal family to be cross-examined in court since the 19th century.

(Via Deadline)

What happens in Las Vegas stays there. Well, unless it occurs on the stage of iHeartRadio’s annual music festival. iHeartRadio Music Festival 2023 will return to T-Mobile Arena on Friday, September 22, and Saturday, September 23. At the top of the lineup for this year’s festivities are rap bad boy, Lil Wayne, rock legends Foo Fighters, Emmy Award-winning talk show host Kelly Clarkson, and Fall Out Boy.

Other acts slated to perform at the festival include Kane Brown, Lenny Kravitz, Miguel, Public Enemy, Sheryl Crow, Tim McGraw, TLC, and Thirty Seconds To Mars. The organizers have hinted on the event’s official flyer that there are still more featured performers to be announced at a later date.

Last year’s event featured appearances from Megan Thee Stallion, Halsey, and Luke Combs. If the festival follows its yearly tradition, fans who cannot attend in person might be able to rewatch it when it airs on television the following month.

The Capital One presale for iHeart Radio Music Festival 2023 begins on Wednesday, June 14, at 10 a.m. PT. The general public ticket sale will start on Friday, June 16, at 11 a.m. PT. Find more information here.

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

Michelle Zauner of Japanese Breakfast is finding continued success with her massive New York Times bestselling memoir, Crying In H Mart.

Now, it has a new co-sign from none other than BTS’ Jungkook. He had expressed his love for Zauner’s work during a recent WeVerse live broadcast.

“Michelle Zauner explores what it means to cook your feelings,” he said. “In the book, she uses the lens of food and cooking to explore her Korean identity after she loses her mother to cancer.”

Zauner then reacted to the photo of the pop star reading her book on social media. “Excuse me Jung Kook has bought a copy of Crying in H Mart!!!!!,” she wrote on her Instagram Story.

Over the past few months, she embarked on a book tour across the US, in support of both becoming a bestseller and her paperback version hitting stores back in March. However, pretty soon, it will become an even bigger title: The book is currently in the process of being adapted into a film, with The White Lotus‘ Will Sharpe directing the project. Recently, an open casting call was announced for an 18- to 25-year-old Korean American to play the role of Zauner.

Fans interested in reading before hit hits the big screen can find a copy here.