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Tom Hanks has starred in many hits (and a handful of misses) over the years, but he definitely leaves an impression with every role he takes. He’s been nominated for numerous Academy Awards, but there is one role that always sticks out when Hanks is brought up…besides Toy Story.

One of Hanks’ earlier roles was the titular character in Forrest Gump, which promptly brought boxes of chocolates back into the minds of adults and children alike while boosting American’s interest in cross-country running (probably!) But Hanks wasn’t particularly sold on the story, which follows Gump as he navigated his life through a series of important historical moments. And ping pong!

While filming, Hanks asked director Robert Zemeckis, “Is anybody going to care about this movie?” Hanks recalled at a recent event with The New Yorker. He added, “This guy sitting on a thing in these goofy shoes and this cuckoo suit with a suitcase full of Curious George books and stuff like that. Are we doing anything here that is going to make any sense to anybody?’”

Sense? Not really. Fun? Yep! It was easy for fans to root for Hanks as Gump, and it was probably all thanks to that spiffy suit he ended up wearing. Zemeckis then told Hanks that you never know when a movie will resonate with audiences or attract moviegoers, but you just have to try it anyway.

“Bob Zemeckis — God bless him, I’ve worked with him more than once — landed on the absolute truth of anybody who has gone forward and said, we are going to commit something to film today, and eventually we’ll cut this into something,” Hanks added. “You do not know if it is going to work out.” Hopefully, Hanks wasn’t a grumpy jerk on this set, but it seems doubtful that Sally Field would tolerate that.

(Via Deadline)

The Donald Glover-produced Amazon show Swarm was one of the most talked-about television/streaming events of the year so far. Fans were blown away by the Black woman anti-hero tale, from its controversial opening sex scene with Chloe Bailey to its guest starring turns from Billie Eilish and Paris Jackson to its mind-bending ending. But because it was so closely associated with Beyoncé, even the show’s creators were worried about its reception from the real-life Swarm analog, Beyoncé’s infamous fanbase, the Beyhive.

Beyoncé’s Renaissance World Tour just had its first show, and fans can’t help but wonder whether the queen herself responded to Swarm during the concert. Dressed as a bee and posted up next to one of those “on air” signs you see at movie studios and radio stations, Beyoncé seemingly shouts into the mic, “Swarm on these hands, n****!” — which is one of the top ten funniest things anyone has ever said. What does that even mean!?

Fans can’t help but wonder the same thing. The short, elusive clip above doesn’t really offer much context for the statement, and there appears to be some disagreement on just what Beyoncé is actually saying in it. For instance, she could be saying “Swarm on these Ms,” as in, millions, which would probably make more sense. But the Hive is feisty and loves a good internet fight, even if they have to reach and contort reality to get it — I mean, that’s what the show was about in the first place!

So, no, Beyoncé probably wasn’t shading Swarm or its creators, Donald Glover and Janine Nabers, but hey, if they need inspiration for season two, I’m sure they can wrangle something out of this. Now, that’s entertainment.

You can check out more about the Renaissance World Tour opener here, from the custom wardrobe to the setlist to the merch.

Queens Of The Stone Age last released an album in 2017 with Villains. A lot has happened since then, including the tragic death of their frequent collaborator Mark Lanegan and public tumult between Josh Homme and his wife.

Today (May 11), the band has announced their new album In Times New Roman… arriving in June. The lead single “Emotion Sickness” is out now. Against playful instrumentation, Homme sings of destruction: “Use once then destroy / Single servings of pain / A dose of emotion sickness / I just can’t shake / Then my fever broke.”

In 2021, Mark Ronson recalled the time he kicked Dave Grohl out of a Queens Of The Stone Age recording session. “It was the first time we were doing vocals and I was like, ‘Dave Grohl, rock legend, get the f*ck out of here,’” he said. “It was like the first day we were doing vocals and Josh was like really in a rhythm and it hit something, and I’m such a fan of Foo Fighters, Nirvana. It was not pleasant to have to ask Dave Grohl nicely to leave the session.”

Listen to “Emotion Sickness” above. Check out the In Times New Roman… artwork and tracklist below.

1. “Obscenery”
2. “Paper Machete”
3. “Negative Space”
4. “Time & Place”
5. “Made To Parade”
6. “Carnavoyeur”
7. “What The Peephole Say”
8. “Sicily”
9. “Emotion Sickness”
10. “Straight Jacket Fitting”

In Times New Roman… is out 6/16 via Matador. Find more information here.

Right-wing commentator Dan Bongino is no longer employed at Fox News (on top of being permanently banned from YouTube), so you’d think the topic of jobs is the last thing he’d want to bring up. Guess again. During an online spat with prolific author Stephen King, Bongino really thought he had something by telling one of the most recognized bestsellers of all time to find work.

It all went down after Bongino insulted President Biden, which prompted King to hop in the right-wing commentator’s replies.

“Biden is a disgrace to humankind. An embarrassment to the human race in every respect,” Bongino tweeted to which King replied. “But he’s got a real job, not a podcast.”

That quip set off Bongino, who tried to insult King with such a weird attack that people genuinely started to question if Bongino even knows who the author is because it sure doesn’t seem like it.

“Yeah, you’re right,” Bongino shot back. “Millions of listeners a day on a podcast while you’re watching porn in your momma’s basement yearning for the days that people actually gave a sh*t about your dumb ass. Nice comeback dipsh*t. Get a job loser.”

Following the “comeback,” Bongino got roundly mocked on Twitter as users couldn’t believe that he actually told Stephen King to Get a job.

(Via Stephen King on Twitter)

During the first two games of Joel Embiid’s return to the court in the Eastern Conference Semifinals, the Philadelphia 76ers’ once-elite offense was floundering. Amid a pair of losses to the Boston Celtics that flipped a 1-0 lead with homecourt advantage into 2-1 deficit without homecourt advantage, Philadelphia generated an offensive rating of 101.8. Since then, in back-to-back wins that have propelled the Sixers’ to a 3-2 lead heading home for Thursday’s Game 6, their offensive rating is 122.9.

At that heart of this is the revival of the Sixers’ bread-and-butter: the pick-and-roll between James Harden and Embiid. Boston’s offense has played well in its two wins this series, yet the crux of its success stems from stymying Philadelphia’s star duo operating in tandem. Beginning in Game 2, the Celtics decided to bring aggressive help to the nail, cheat up from the strong-side corner, and play off of P.J. Tucker as often as possible. That cramped the floor for Harden and Embiid.

The former couldn’t probe to his heart’s content and saw driving lanes dry up. His handle with his right is tenuous, so the Celtics forced him that direction (they’re still trying to, to be clear), sat on his left hip, and crowded him via a strong-side helper to curtail a live dribble. That all greatly impacted the latter, who received far fewer seamless pocket passes to his free-throw line office.

These two plays involve Jalen McDaniels, who Boston deemed a non-threat beyond the arc and has since been removed from Philadelphia’s rotation. But the theme remains: The Celtics were flocking attention toward Harden and Embiid, complicating passing angles and stalling the Sixers into a bunch of sticky, discontented possessions.

Following those two defeats full of listless offense, Doc Rivers has instituted numerous adjustments and counters. McDaniels hasn’t played the past two games. Philadelphia cut the rotation to eight in Game 4 and excised a non-shooter (at least how the Celtics see him) from the lineup. He’s opting for units geared toward optimal spacing and trusting his defensive stalwarts still in the rotation to cover for McDaniels’ absence.

The positioning of everyone around Harden and Embiid has been amended notably. The Sixers are clearing the wings more regularly and flattening along the baseline. They’re running more empty corner actions for Harden and Embiid to stress the rotation of a third defender into the show. They’re initiating screens higher up, sometimes in the backcourt to give Harden a greater head of steam and/or force a switch against a favorable matchup (basically, anyone aside from Jaylen Brown).

The dichotomy in where the screener for Harden stations himself on this patented Delay set below highlights one schematic tweak. In Game 2, Tobias Harris stayed in the near corner and the result was a contested mid-range pull-up for Harden. In Game 4, Tyrese Maxey relocated to the far corner, which opened a path for Embiid to dive and score. Jayson Tatum’s help at the nail is much less pronounced than Derrick White’s, as well.

Boston, deciding to close off the arc and trust its interior defense, has trended more conservative with its nail help the past two games after the Sixers went 16-for-37 from deep (43.2 percent) and 15-for-41 (36.6 percent) on twos in their Game 3 loss. Playoff series are about hammering pressure points and winning mercurial push-pull battles. These sorts of shifts exemplify that.

Not only is the Sixers’ long-range proficiency perhaps prompting Boston’s hand in its approach to help, but the Sixers are occupying help defenders better. Philadelphia’s offense does not incorporate much off-ball movement. Rivers stresses the importance of Embiid knowing where players will be and generally keeping static. Embiid expects them in specific spots in specific actions. There hasn’t been much weakside motion throughout Rivers’ tenure.

The past two games, however, he’s incorporated just a bit of window dressing to clear space for Harden and Embiid. It’s nothing complex or dramatic, but it’s been enough to conflict the Celtics’ help defenders and grant his stars the requisite room to boogie. The aforementioned adjustments, higher screening points and vacant wings, are effective as well.

With nobody at the wing on whichever side Embiid is rolling, nail help from a corner defender — as opposed to whoever is nearly parallel to Embiid at the free-throw line — is much harder. It’s a lengthier rotation. It’s usually someone Boston is less comfortable helping off of, a la Harris, rather than Tucker. Look where Tucker is on the ball-screens below. The rotation for his defender into Embiid’s orbit is largely atypical and highly demanding.

Philadelphia’s spacing has been calculated and tremendous the past two games — the difference from Games 1 and 2 is stark. The court’s been sprung open for Harden and Embiid.

After Game 4, it was reasonable to think Harden couldn’t score 42 on 16-for-23 shooting again, even with his torrid Game 1. For the Sixers to need that performance in a one-point overtime victory didn’t necessarily hint at a path to sustainable offense. After Game 5, though, the Celtics need to adapt. Maxey was having a good, albeit not great, night before they completely sold out to slow Harden and Embiid in the fourth quarter, which empowered him to thrive in space against a somewhat scattered, desperate defense.

Harden and Embiid were excellent, but nothing they did was unsustainable. They just picked apart Boston. Philadelphia’s slotted Tucker in the dunker spot rather than the corner more the past two games and Boston seems hesitant to abandon him there, given his offensive rebounding chops.

To slow this offense, the Celtics probably should abandon Tucker more commonly — it might be worth bringing back the preordained nail help to deter Harden’s automatic feeds to Embiid. Not being entranced by the subtle off-ball movement from the likes of Maxey, Harris, Tucker, and De’Anthony Melton should be another priority. Their motion didn’t really put them in more advantageous spots on the floor, yet the Celtics responded like it did. I’d wager that stuck out on film.

Boston extinguished the bedrock of Philadelphia’s offense for two games and took charge of this series. The Sixers ushered in necessary changes and wrestled back control. Those changes have pushed them to the brink of their first Eastern Conference Finals in 22 years. They also have this Celtics club, once a juggernaut roaring through every team, eyeing a second-round exit. Philadelphia’s been much better tactically through five games. Boston will have to close that gap to extend its season.

Hot Mulligan know their way around a throwback emo trope — the scorched sugar melodies and set-and-spike dual vocalists, the absurdly long, shitposty song titles and earnestly twinkling guitars. And so the centerpiece of their third album Why Would I Watch should be just as familiar: the acoustic weeper that temporarily puts all of the aforementioned aside to mourn a dead pet.

Several decades of experience with this exact type of song led me to believe that Nathan “Tades” Sanville was mourning his dog. “You fool,” he fires back, in what only sorta sounds like mock outrage – for one thing, I misidentified its subject, a beloved rat that he got at the beginning of the pandemic. “I’ll just sit there in their room with their cage open and just watch them and play with them for hours at a time every day because it makes me feel better,” Tanville reflects. “And while I’m out on tour, Betty gets a lung condition and she can’t breathe and she dies.” The bigger offense was asking whether Hot Mulligan, in some perverse way, relishes experiencing a new form of shitty stimuli to sublimate into singalongs. “There’s the joke where if you date the pop-punk guy, once you break up, you know that there’s gonna be a full-length album about you,” he explains. “[‘Betty’] is dread, pure dread. The reflex is not…bet I could write something about it. Fun!”

Like the two Hot Mulligan albums before it, Why Would I Watch is some of the most anthemic, invigorating rock music you’ll hear about wishing you had the energy to die just a little bit faster than you currently are. The songwriting core of Tanville and Chris Freeman didn’t have to search very far for inspiration – the seasonal depression and regular ol’ depression depression borne of living in rural Michigan, intractable familial strife, alcoholic despair, graduating college with seemingly fewer career options than when you started. When I challenge Sanville to name the most upbeat song from Why Would I Watch, he immediately offers “Christ Alive My Toe Dammit Hurts,” because “it starts really happy, like a dance.” The starting lyric in question — “I feel kinda sick / like I don’t wanna smoke no more / cause I feel like dying.”

Both Freeman and Sanville attest to slightly healthier lifestyles since completing Why Would I Watch — being on social media less, eating better, less booze, and less vaping, “if only because it looks stupid.” But the album itself is littered with the spiritual and physical detritus — “For every crater on the moon / there’s an empty beer around the room,” Tanville sings on Why Would I Watch’s most melodically uplifting hook, and the remainder airs out every last bad vibe that followed you’ll be fine — a record that might’ve shot them into the upper echelons of pop-punk had it not been given the unfortunate release date of March 6, 2020.

Though “Betty” is very, very, very direct in addressing its subject matter, Sanville’s dearly departed could still be seen as a stand-in for all of the home lives that Hot Mulligan had already sacrificed just to get to you’ll be fine, itself a classic emo trope: the sophomore leveling-up after a popular and admittedly derivative debut made by teens. Raw and spirited, 2018’s Pilot was often compared to Boston Manor and Tiny Moving Parts, emo and pop-punk acts exceedingly more popular than any you’ll read about in indie-leaning publications. Thanks to singles “Feal Like Crab” and “*Equip Sunglasses*” — a little bit of The Hotelier’s incendiary anthems, a little bit of the 1975’s frothier, funkier pop — the quartet were now considered to be the Most Likely to Blow Up amidst a burgeoning Michigan scene, alongside critical darlings like Greet Death and Dogleg, as well as local fixtures Parkway and Columbia, Forest Green, and Charmer.

“While they were doing what bands are meant to do, which is to have fun and then every now and again do the tour twice a year, we just cranked them out because, really, there was nothing waiting for us at home,” Sanville explains; he describes an existence like a Springsteen song without the quiet dignity, getting consistently fired from dockwork and other manual labor. Meanwhile, Freeman recounts a mostly aimless academic career in college, working as a runner or bouncer at local clubs and booking Hot Mulligan shows during class breaks. “Our ambitions for touring were more destructive towards [our home lives] compared to people who are more likely to be, ‘I can’t do that because I’ll lose my job,’” Freeman says, having internalized the romantic and increasingly outmoded belief of suffering as the touchstone of artistic growth: “Nah, you’re supposed to lose your job.”

Hot Mulligan’s grindset led them to the sort of gigs that put them in front of enormous crowds and very few tastemakers: opening for Knuckle Puck and New Found Glory, taking a slot on the Journey/Converse-sponsored Sad Summer Festival, headlined by Taking Back Sunday and The Maine. On the poster for this year’s When We Were Young weekend, their band logo is right between that of Lit and Fenix TX. More recently, they did a US run with The Wonder Years, a band who spent much of the late 2010s questioning if they were some kind of cautionary tale — “We wanna go on tour with certain kind of bands and play certain kind of festivals and it’s just like, ‘NO, because you are this thing and you don’t fit into this world with us,” Dan Campbell said in 2018, questioning whether casting their lot with the Warped Tour precluded them from more artistically satisfying opportunities. Still, it’s hard to argue with the results, as the proximity to these wildly successful bands has opened up a new, loyalist fanbase. As Freeman points out, “It was 20-year-old girls with green hair one year ago, but now it’s a lot of 30-year-old guys pulling up to these shows, I love you man!”

When I catch up with Freeman and Sanville, they’re only a few hours removed from arriving in Belgium on the verge of their first international headlining tour, alongside their labelmates in Arm’s Length; they’ll be back in the UK this fall, supported by Spanish Love Songs, another band that’s similarly appealed to both fresh faced teens and washed 30-somethings by putting a more emo-friendly spin on The Hold Steady and The Menzingers’ celebration rock. In most circumstances, a band at Hot Mulligan’s level doing a European tour is more indicative of their willingness to endure financial hardship than their clout. A few years prior, Freeman says the band “chewed out their manager” after seeing some of their peers touring abroad — “He’s like, you don’t wanna go yet, you’re gonna lose a lot of money and it’s not gonna be fun.” But after playing a European run with Knuckle Puck, Sanville recalls, “The main question for that tour was if we came back would we be able to pay rent and we were. So here we are again.”

Thus far, Hot Mulligan have integrated Why Would I Watch into their setlists in a slow drip. Sanville blew out his voice doing “Gans Media Retro Games” on the first night of their most recent tour and cops to having more difficulty keeping track of Hot Mulligan’s bombastically penned lyrics than the people in the crowd. “I fuck up lyrics all the time. If I say the wrong word then I’m gonna forget the rest of it, so I just mushmouth,” he admits. “If I forget the entire thing altogether, I just point the mic out at them and hope they can cover me.”

They admit they have yet to perform Why Would I Watch in full, even in their practice space, which is understandable – Hot Mulligan’s third album isn’t so much an expansion of their palette or a mature new song as it is an amplification, hyperbolizing everything great about you’ll be fine: more riffs, more savage lyrics, more tempo changes, more electronics, less downtime. From the moment opener “Shouldn’t Have a Leg Hole But I Do” breathlessly segues to “It’s a Family Movie She Hates Her Dad,” this is the best pitch I came up with: imagine an album sequenced like PUP’s The Dream is Over made by a hyperpop band who works entirely in samples from the Warped Tour’s 2003 compilation CD. If any of that sounds appealing to you, good news: Why Would I Watch does mostly that for 40 straight minutes.

The density of Why Would I Watch still makes it a little difficult to distinguish the “Tades songs” and the “Chris ones,” even if Hot Mulligan’s main songwriters represent a classic artistic duality. Sanville is the type to “go back to the old well”; his girlfriend has made Richmond alt-rockers House And Home a mutual favorite, which he describes as something like a screamier version of Chevelle. Freeman is the futurist, the guy who namedrops Charli XCX and emo-rappers; “I was not satisfied trying to channel you’ll be fine energy and do this riff that’ll be fast and heavy,” he states. “It’s probably objectively good and catchy but it’s not stimulating my sense of wanting to do something new.”

To be clear, Why Would I Watch is still very much a spitfire, spiteful synergy of emo verbiage and pop-punk hooks. In explaining the theme of Why Would I Watch’s lead single, Sanville revealed that it was about his mother. “I’m asking her to die. Every time I hear about her, she’s a worse person than before.” This was in the press release. The title of that song is “Shhhh! Golf Is On.” Freeman didn’t voice any resistance to the subject matter itself, just reservations about the final line, that “cornfields” didn’t sing particularly well. “It’s important imagery!” Sanville says in his defense. “There’s a cornfield behind my mom’s house and I hope when it collapses with her inside, that it’s into that field.”

At a time when it feels like bands in Hot Mulligan’s sphere are co-opting puffy therapeutic language as a form of clout-chasing – “radical empathy” is 2023’s “angular” or “ethereal” or whatever – they consider that their honesty about the shittiest possible emotions serves as a kind of artistic integrity check. But as a band that are now elder statesmen in their genre on account of making two successful albums, they face a longview question that’s troubled pretty much every single artist topping the poster at When We Were Young – what happens when your audience clamors for the songs you wrote at the most cringe time in your life? I won’t name names, but if you’ve ever loved a pop-punk band from the early 2000s, you’ve also probably seen them play some of the most half-assed festival sets imaginable a decade later.

“My songs on [Pilot] are the ‘relationship songs’ and they do not hold up to me at all,” Freeman admits. “I play it and it’s like, that was cool that I wrote that.” Sanville concurs, “A lot of those are general feelings that I can identify and I still relate to it in a way because I was stuck in that for so long.” Alluding to When We Were Young’s infamous wind-induced cancellation in 2022, Tanville comes up with an inventive solution for how to deal with this dissonance: “We say that we’re playing, but what’s really gonna happen is that I’m gonna bring a wingsuit and stand there with my arms spread and see how far away I can get.” Freeman’s head immediately drops into his hands, and as with most things Hot Mulligan, it’s not entirely clear whether you’re meant to laugh or wince at an unguarded and potentially costly moment of candor. Judging from Freeman’s reaction, it’s probably both — “Keep your location on so I can pin you.”

Kilby Block Party is going out of its way to make sure fans have the best time possible at The Utah State Fairpark in Salt Lake City, Utah from this Friday, May 12, to Sunday, May 14. The stacked festival is headlined by Pavement, The Strokes, and Yeah Yeah Yeahs, and the lineup was tweaked to accommodate fans’ preferences.

“Schedule Update! After receiving some feedback on the line-up times, we were able to make a few tweaks in an effort to create a better experience for everyone at the fest,” Kilby Block Party’s official Instagram posted on April 25. “FRIDAY: Frankie Cosmos and Ritt Momney have swapped places. SUNDAY: Surf Curse and Pixies will now have less cross-over time. Although we are unable to accommodate each preference, we hope that these most-requested changes will help!”

The festival will unfold across four stages: Desert, Kilby, Lake, and Mountain. On Friday, May 12, Yeah Yeah Yeahs will perform their headlining set from 8:30-10 p.m. local time on the Kilby stage. Before that, Kilby will host Japanese Breakfast (6:10-7:10 p.m.), Remi Wolf (4:05-4:50 p.m.), Jean Dawson (2:15-3 p.m.), and Miya Folick (12:55-1:25 p.m.).

Dominic Fike can be seen on the Lake stage from 7:20-8:20 p.m., and he will be preceded by Cuco (5-6 p.m.), Lucius (3:10-3:55 p.m.), Julie (1:35-2:10 p.m.), and The Plastic Cherries (12:20-12:50 p.m.).

Saturday, May 13, will be capped by The Strokes on the Kilby stage from 8:45-10 p.m. Run The Jewels will perform on the Lake stage from 7:35-8:35 p.m. after Caroline Polachek (5:15-6:15 p.m.), Alex G (3:25-4:10 p.m.), The Moss (1:55-2:25 p.m.), and Sunsleeper (12:45-1:15 p.m.). Weyes Blood’s performance on the Mountain stage is set for 6:25-7:25 p.m.

The grand finale on Sunday, May 14, will be in the hands of Pavement on the Kilby stage from 8:50-10:30 p.m.

Learn more about the full lineup, set times, after-parties, merchandise, and tickets here.

Survivor host Jeff Probst used to travel by sea and sky to deliver votes, but those days are no more. His “official” explanation is that “we don’t want to do it just to do it and waste time out of our finale,” but there’s a more convincing reason: he doesn’t want to die.

While filming an episode of Survivor: Vanuatu in 2004, Probst hacked his way through a jungle and boarded a plane to deliver the vote. So far, so good. But then he had to jump out of the plane. “When you skydive, they tell you two things. Check your altimeter, which tells you how high you are, and check your horizon line to make sure your body is oriented right. And you’re supposed to pull your chute at 5,500 feet,” he said on the On Fire with Jeff Probst podcast).

But on the sixth jump, Probst got distracted. “I check my altimeter, and then I look at the horizon, and I decide to take in beautiful California,” he said. “I’m looking at the horizon and thinking, this is amazing. I look down at my altimeter and it says 4,500 feet.” Uh oh.

“So suddenly I go, ‘Oh my God!’ And what they teach you to do is wave your arms together like an X. That lets everybody know, I’m pulling my chute. And they tell you very specifically, when you reach back to pull you chute, when you grab it, punch out to make sure none of your clothing gets tangled up. So I reach back and I punch out and my chute goes up. I’m like, oh, thank God.”

One problem: the chute doesn’t open. “In that case they said to scissor kick,” Probst explained. “So I’m at 4,400 feet. I’m quickly getting close to the ground, and I scissor kick, and the chute opens.” Thankfully, he made it to the ground, safe and sound, but it was “one of the scariest times of my life.”

Former Survivor contestant Mike White should recreate the plane jump for The White Lotus season 3. Maybe cast Probst to relive his trauma, as a thank you.

(Via EW)

Karen O and Yeah Yeah Yeahs are fresh from Shaky Knees Festival last weekend in Atlanta, as the band is simultaneously headlining a tour that will stretch into this summer. Meanwhile, Azealia Banks made headlines earlier this week for torching Australia as “one of the most culturally stale white nations on the planet.”

Both will be at the Just Like Heaven festival this Saturday, May 13, at Brookside at The Rose Bowl in Pasadena, California.

Yeah Yeah Yeahs are headliners, and the lineup also prominently features MGMT, Future Islands, Empire Of The Sun, and M83.

On May 1, the festival shared all set times across the Orion and Stardust stages.

The day will kick off with Them Jeans and Eli Glad on Orion and Stardust, respectively, at noon local time. The Orion stage will host The Sounds (12:35-1:20 p.m.), Strfkr (1:25-2:10 p.m.), Metronomy (2:15-3:05 p.m.), Ladytron (3:15-4:05 p.m.), The Bravery (4:15-5:05 p.m.), The Walkmen (5:15-6:05 p.m.), Future Islands (6:15-7:05 p.m.), Empire Of The Sun (7:20-8:20 p.m.), MGMT (8:35-9:45 p.m.), and Yeah Yeah Yeahs (9:55-10:55 p.m.).

Over on the Stardust stage, Cults are set to go on at 12:30 p.m., followed by The Faint (1:30-2:05 p.m.), Azealia Banks (2:30-3:10 p.m.), Fever Ray (3:35-4:20 p.m.), Peaches (4:50-5:35 p.m.), Hot Chip (6:05-6:55 p.m.), Caribou (7:30-8:25 p.m.), and M83 (8:55-9:55 p.m.).

See the full schedule below and other information about the festival here.

Another day, another pronunciation scandal for Jeopardy! Eagle-eyed watchers are always quick to pounce on both the hosts or the contestants for seemingly flubbing a word, but this time around, fans criticized the entire show for denying a win to all three players.

This latest conundrum happened during a Double Jeopardy for the category “The Quotable Alex.” The clue read, “An author & former prisoner: ‘Socialism of any type & shade leads to a total destruction of the human spirit,’” but things went south for all three players when it came time to pronounce the Russian author.

Via Decider:

While all three of them buzzed in with the correct answer — Russian writer Aleksandr Solzhenitsyn — host Mayim Bialik was looking for a slightly different pronunciation than what the three contestants gave.

“This is a tricky one to pronounce,” Bialik said.

Jeopardy! fans took to Twitter to blast the show for having a clue that should’ve provided a bit more flexibility, which is pretty surprising if you know how strict Jeopardy! fans on social media can be about answers.

“Even with weeks of practice, I don’t think I can properly pronunciate ‘Aleksandr Solzhenitsyn’ and I think #Jeopardy needs to loosen the standards,” one fan tweeted. “It is getting ridiculous.”

“If you’re not going to accept anyone’s attempt to pronounce Solzhenitsyn, don’t write a clue about him,” another Jeopardy! watcher wrote.

“This seems particularly egregious when some answers (e.g., player had read the word only, didn’t know how it was pronounced) are routinely accepted,” a fan added in response. “This feels very arbitrary. It can also throw the players off their game which is equally unfair.”

“What is with these super-lame pronunciations on Jeopardy lately?!” another fan tweeted. “Helen Keller could tell all the contestants were trying to say ‘Solzhenitsyn.’ So annoying.”

(Via Decider)