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Per setlist.fm, Frank Ocean performed at Finland’s Flow Festival in August 2017. Until this weekend, that was his most recent live show, but now, nearly six years later, Ocean returned to the stage yesterday (April 16) to headline Coachella. It… did not go well.

Even before Ocean took the stage, things weren’t looking good. It was revealed that his performance would not be livestreamed online, unlike the majority of other Coachella sets this year. Then, Ocean only started performing an hour after his set was supposed to begin, meaning he only ended up starting the show at around 11 p.m. PT. Given that, as the Coachella website notes, there was a midnight venue curfew on Sunday, Ocean’s set ended up having to be cut short. As setlist.fm notes, the set features 14 actual performances and a lot of other pre-recorded songs, mostly remixes, played over the speakers.

As for when the show was actually going on, people weren’t happy. Rolling Stone‘s Tomás Mier summarized his take on the situation, tweeting, “No, I didn’t enjoy Frank Ocean’s set. It was confusing. It was odd. it was not a Coachella headliner-worthy performance. I didn’t understand it. Maybe it wasn’t made for me to understand. Idk. I have more questions than I do answers. I’ve never seen so many people walk out of a show so upset and confused. The amount of anticipation for this was extremely high, and I don’t think anyone was satisfied. Not even the diehard fans. (And if you weren’t there… don’t talk lol.)

Check out some more reactions below.

While fans online felt the FOMO after learning Frank Ocean’s Coachella headlining set would not be livestreamed on the festival’s YouTube channel, fans in attendance worried he might not perform at all after an hour passed with no sign of the singer.

Sure, he’s pretty elusive and mysterious, but waiting over an hour had fans feeling antsy. Fortunately, he opened his set with a fan favorite that got the crowd back on his side: “Novacane,” his breakout single from the 2011 mixtape, Nostalgia, Ultra.

After playing “Novacane,” he followed up with “Crack Rock,” “Bad Religion,” and “White Ferrari” before sharing his favorite Coachella memories with the assembled crowd, including catching Rae Sremmurd and Travis Scott. Although he admitted he didn’t like coming to the desert — thanks in part to a tendency to get respiratory infections from the flying dust — he thanked fans for coming out to see him after so long. His last Coachella appearance was over 10 years ago, in 2012.

Since the avant-garde R&B experimentalist released two studio albums, Channel Orange and Blonde, as well as a visual project, Endless. However, he’s been a scarce presence on festival stages and hasn’t toured much; before being booked to headline the canceled 2020 edition of Coachella, he hosted a series of DJ events in 2019 where he shared some of his first new music in years.

Speaking of new music, during his speech at Coachella, he cleared the air about that; he did not take the gig to promote a new project, although he said one is in the works.

Coachella has been one of the pioneer festivals when it comes to streaming its performances online but at the end of weekend one, fans were aghast to learn that one of the most anticipated sets wouldn’t be available on the festival’s YouTube live stream, just hours before the headlining set began.

Frank Ocean hasn’t performed live in… well, probably half a decade, outside of a few sporadic DJ sets. Fans were naturally psyched up to see him hit the stage in Indio, but then, it was announced by the YouTube Twitter account that “Frank Ocean is not scheduled to appear on the Coachella live stream” and unsurprisingly, all hell broke loose.

It makes sense that fans would be … shall we say “a bit out of sorts” over the news. The last time the elusive artist performed at the festival was in 2012, when he was accompanied onstage by BadBadNotGood as his backing band and performed such standouts from his catalog as “Novacane” and “Swim Good” from his breakout mixtape Nostalgia, Ultra before his critically-acclaimed debut album Channel Orange had hit the shelves.

Since then, he’s only released one other album, 2016’s equally warmly received Blonde, as well as the visual project Endless. There has been some speculation that he would be performing new songs from a rumored follow-up to Blonde or singing Nostalgia, Ultra in its entirety before releasing it on streaming, but even if neither were true, it’d be his first chance to perform either of his studio albums at Coachella — and many fans’ first chance to see him play, since his original headlining set was canceled in 2020 and he rarely performs live.

Now, it seems that those fans who weren’t able to make it to the festival in person will be feeling even more FOMO. This one just about sums up the general feeling on Twitter:

Russell Westbrook had quite the Game 1 performance as the Clippers beat the Suns in Phoenix to take a 1-0 series lead and swipe homecourt advantage in the highly anticipated 4-5 matchup.

Westbrook had an awful shooting night, going 3-of-19 from the field, but pulled down 10 rebounds (including five big ones in the fourth quarter) and had the game-sealing block of Devin Booker that was a truly sensational individual effort. It was the full Westbrook experience in every way, and apparently even included an altercation with a fan at halftime, in which he went into a courtside suite and told a fan to “watch your mouth” in a truly bizarre scene.

There are a lot of questions people have about this video, including the seemingly strange layout of the Suns arena to the child who just houses a plate of food with no utensils while his dad(?) gets yelled at by Russell Westbrook. All of those are very valid questions to have and the mystery of it all makes for an even more fascinating video.

As for the Westbrook-fan confrontation part, it’s far from the first time Westbrook has taken offense at something said to him by fans. He has had issues with opposing fans in the playoffs before (rather famously in Utah and Philadelphia), and while with the Lakers he took issue with the “Westbrick” chants directed at him by the home crowd. It’s unclear exactly what elicited this response, but given Westbrook had to track this fan down a tunnel into a suite, it’s clear they crossed a line with him and one would expect the teams and/or league to look into exactly what happened to spark this action from Russ.

Game 1 of the highly anticipated Clippers-Suns first round series lived up to the expectations, as L.A. swiped homecourt advantage with a 115-110 win in Phoenix behind a stunning 38-point performance from Kawhi Leonard.

Leonard dueled with Kevin Durant (27 points) and Devin Booker (26 points), but after the game the talk was about Russell Westbrook’s incredible final minute of play. Game 1 was the full Russell Westbrook Experience, as he started the night hounding Kevin Durant on defense, pestering his former teammate and rival into an uncustomary slow start, missing his first five shots. While doing that, Westbrook was also getting off to his own dreadful shooting night, as he would finish the game 3-of-19 shooting, taking more shots in the game than anyone other than Kawhi Leonard (13-of-24) despite having nothing going with his jumper or at the rim.

In the third quarter, as the Suns took control of the game, pushing their way to a nine-point lead, Westbrook’s defensive intensity waned, his poor shooting continued, and the groans from Clippers fans grew louder and louder on Twitter with every passing moment. When he went out of the game, L.A. made its run to tie the game up going into the fourth, leading to plenty to hope he would remain in his seat on the bench for good.

But Tyronn Lue reinserted Westbrook early in the fourth, and left him in for the remainder of the game, where he was rewarded for his faith in the former MVP with one of the most impactful overall final minutes you’ll see. While it was Kawhi Leonard’s unbelievable shooting (and a couple timely threes from others) that pushed the Clippers into the lead, it was Westbrook who helped seal the deal by providing what is likely his best sequence of the season (and maybe the past few years).

It started with securing a key offensive rebound and then fighting for another (as he had five of his 10 boards in the final frame), causing the ball to go out of bounds off of Deandre Ayton to retain possession for a second time in what became a 50-second long possession for the Clippers.

After Durant denied Leonard the ball on the Clippers’ fourth attempt at a possession, Westbrook drove the ball into the lane and drew a foul on Booker, setting up a pair of clutch free throws that he drilled.

On the ensuing possession for the Suns, Westbrook pulled off one of the best individual defensive plays you will ever see, staying on Booker’s hip on a drive, blocking him, and then somehow managing to double jump and throw the ball off of Booker to give L.A. possession.

That play, effectively, won them the game, as L.A. would get the ball in and Eric Gordon would hit a pair of free throws to push the advantage out to five with seven seconds to go in the game.

Sunday’s game showed the entire spectrum of Russ at this point in his career. There were infuriating decisions, dreadful shooting and finishing, and severe lapses on defense. There was also his infectious energy on the boards and defense during the first and fourth quarters, which is desperately needed on a Clippers team that can all too often grow lackadaisical and see their effort wane. It was one of the best 3-for-19 shooting games you can ever see — and I have to say “one of” because Russ has literally done this before in a playoff win.

With Paul George out, Westbrook has to play big minutes for the Clippers because he’s one of the few players on the team that can initiate offense. Even so, Lue is going to also have to figure out how best to nip those negative stretches in the bud sooner, because they can be absolute killers and not every night will end with this kind of flourish. But in those big moments he is unafraid, which, for all the faults his confidence can bring, is something this Clippers team absolutely needs.

Westbrook is helped tremendously on the offensive end by an assertive Kawhi Leonard, because as we saw in the closing stretches, he will feed the ball to a star teammate when they demand it. He was not looking to score for himself when they were running sets for Leonard, and that might be the most positive takeaway beyond his rebounding from that end on the night.

The problems come when Leonard either isn’t in the game or isn’t looking to take over, because when there is a void of aggression and assertiveness, no one is happier to fill it than Russ. It is the conundrum the Clippers, who don’t have an awful lot of aggressive offensive players beyond Leonard and George (who won’t play in this series), will have to navigate, because Westbrook should never be taking 19 shots on a night where he has nothing going, but they have no one other than Kawhi willing to demand the ball and stop him from himself. And yet, that aggression also helped win them the game, as without his activity on the offensive glass it’s very possible the Suns go down and get a go-ahead bucket.

This is all part of the experience the Clippers signed up for in February. For years, there were cries on NBA Twitter to #LetWestbrookBeWestbrook when he was on the Thunder playing with Durant, but at this point there is nothing that can be done to stop Westbrook from being Westbrook. He is who he is, for better and worse, it’s just a matter of figuring out how to harness the good and mitigate the bad.

Who knows how those scales will tilt going forward in this series, but for at least a night they were in favor of Russ and the Clippers. After a very long couple of years in L.A. with the Lakers, where that was very rarely the case, it was pretty fun to see.

While the spotlight usually focuses on the Roy kids and the cantankerous Logan Roy, you can’t help but notice the work Zoë Winters’ has been doing as Kerry, Logan’s assistant turned companion. A fierce advocate for her boss/boyfriend whose news anchor career seemingly came to an end before it started a couple of weeks ago, Kerry was utterly stunned by the events of episode 3 (okay, no more holding back for spoilers, we’re discussing Succession‘s last two episodes in full now). But that was only the beginning.

Now in the aftermath, Logan is gone and more emotional trauma is here for Kerry when she confronts Logan’s technical widow, Marcia, and gets, essentially, tossed aside. It’s a brutal scene, really. For goodness sakes, when Roman is your best source for empathy, run! Anyway, we wanted to learn more about how it all went down so we asked Winters to break down that scene, her character’s reaction to filming Logan’s final moments on the show, Brian Cox’s generosity, and, in a fun/awkward moment, a prompt to recognize Marcia’s game in her power play (even though we are ALL Team Kerry at this point).

“Chuckles the Clown” — When you hear that, how do you feel about that insult from Karl?

Yeah, I understand it. I think she is in a moment of shock. She doesn’t hear it. I don’t think Kerry would feel good about it, but Zoe watched it here and thought it was hilarious.

It’s such a high-emotion moment and your character’s playing a note that no one else really gets allowed to play in that, which is like being stunned. What was the read going into that scene, what were the marching orders?

Kerry was in the jet up front with Logan and Tom the whole time and they shot the scene in the same way that they shot it on the boat, but a little bit differently. The kids called in, and they did all of their lines for Matthew MacFadyen to have his footage. And so I was there in that room, and it was a chaotic room and it was a heartbreaking room in the jet and confusing with a lack of information and medical terms flying around. And it was really disorienting.

And so I had that experience of going through all of that, and we shot that before I had my scene of coming back in to talk to Karl, Frank, Karolina, and Tom. So definitely, I knew what I was coming in with. I had been there for all of that. I had experienced all of it. And you don’t see her in any of that scene. But I thought that that was a really wise editing choice just because when she walks through those doors, it’s a new person to process how they’re going to react to this incredibly unbelievable moment. And then it was written in a way where it does express that she is in shock. And maybe it’s coming out through some weird giggling or maybe she has a weird strange smile at some points. And then obviously, they have this language around Chuckles the Clown. So obviously, there was insight through the script.

Personally, having had great loss in my life and understanding the feeling of shock, it all just comes out sideways. I don’t think that there’s any way to judge how somebody’s going to react in a moment of shock like that. And that’s what I felt that day going into it. I didn’t care how it looked. I didn’t care if it looked strange. I didn’t care if it wasn’t believable or if people judged it. I wasn’t thinking about acting in any way. I was just processing that moment and letting it be and arrive in me in the way that those moments do. And I think that shock is strange, and I think we see an embodiment of shock in that moment.

I saw some of the interviews that Brian Cox gave after the episode. He said some lovely things about you in the Vulture one. “Zoë Winters is an actress of considerable depth and intelligence.” How does that feel coming from such a master?

Oh, it’s unbelievable. I have so loved working with Brian. And Brian is such a titan of incredible talent on stage and screen and in films and TV. When I watch him, he is so mesmerizing and so truthful. And his gift with rhythm and language is so beautiful to watch. He knows how to fall into language and however poetic it is or however much you know there’s so much form and craft around a sentence. And obviously, the way this show is written is so genius. And then in Brian, it always really just feels like talking, and it’s just true. And he’s an incredible scene partner. What a gift to be across from Brian Cox throughout this series.

I remember early on when I was coming in, I said, “Brian, I’m going to try something.” And he said, “You do whatever you want to do.” Part of what makes Brian so incredible is just his inherent, unbelievable gift. But he also lets you play, and he responds to it. He’s not trying to control the situation. He’s not trying to control your performance. He’s existing and being and he’s taking in what you’re doing, and he’s responding to it. And to act with him feels really freeing and very much alive because he is just such a receptive partner. So to have him say nice things about me means the absolute world.

Speaking of being able to take chances and try things, I want to talk about the scene in this latest episode with you and Marcia when you show up at the apartment. How free were you to explore and play? Because it’s a big scene, it’s a big emotional response. A very understandable emotional response.

I think there’s an incredible feeling of isolation and also desperation. She’s in total disrepair. She’s also exhausted. The day before was the big event, and so she hasn’t slept. And she’s gotten this message from Marcia, and who knows exactly what it says, but something along the lines of the family’s gathering, you’re not welcome. And so I think that she is completely broken at this point and also scrambling to salvage any part of her life that she’s become accustomed to.

When we shot that scene, Lorene Scafaria is an amazing, amazing director, and she also shot a number of pages for that scene. And so the speech is happening, and then Stewy and Sandy come in. And so going into that scene, I kind of had what Kerry has, which is she’s alone. She’s taking the elevator up there. I think she didn’t want to make a scene. She was hoping that Marcia wouldn’t be there when she walked through the elevator doors. She just wanted to get up those stairs, get what she wanted, and get out of there. So I don’t think she is coming with any sort of armor or fight in her. I think all of the fight has completely been drained out of her.

There was a lot of physicality in that scene with her belongings dropping and Roman coming over to help her. And so there was also a lot of choreography to it in a certain sense. And Lorene and Jesse were both really helpful around making sure that the physicality helped lift the scene instead of in any way getting in the way of the language or of the desperation or of the need.

Will we see Kerry again?

I guess we’ll wait and see.

It’s a cruel moment, but you kinda have to respect Marcia’s power play there, don’t you?

No.

Come on. That’s impressive to just roll in like that and just be like, “Yeah, this is mine.” And then to sell it in nine seconds.

The belle of the ball.

Don’t hate. Don’t hate.

You’re asking me not to hate on Marcia. Wow. That’s a big ask.

Okay, but is there a world where you kind of wish Kerry would’ve been able to do that kind of thing? To pull off that move? It’s just an admirable move.

I mean, what we see so much in this episode, not just in Kerry, but is people trying to land. People trying to land somewhere, and Marcia landed. So all right props to Marcia for landing. Can’t believe you got me to say that.

‘Succession’ airs Sundays at 9PM ET on HBO

SPOILERS from this week’s Succession will be found below.

Succession did a number on viewers last week with the (somewhat premature) death of Logan Roy and another seven episodes left until closing time. Now, it’s time to clean up the public relations mess after stock tanked, and there’s the matter of, you know, succession. Logan had the sale in motion, and he had screwed Roman beforehand (by having him fire Gerri to test his loyalty). And Connor got married anyway, so good for him.

Logan Roy has moved onto hell, and right off the bat this week, Logan’s hangers on discuss who should finish the deal in process. And both Gerri and Karl let Tom know what everyone really thinks of him (and his claimed desire “to serve”), but aside from this business, something shocking has already been revealed: Shiv happens to be pregnant.

Reading between the lines here: Shiv apparently had no plans to terminate the pregnancy, given that there’s already been an amniocentesis and mentions of a 20-week appointment. Given that this season will end before she gives birth (each episode covers a day), we’ll never find out what kind of mother she would be, but she isn’t the nurturing type! Granted, she was molded that way, but oof, the next generation will continue to be messy as this one.

Also, Tom remains unaware of this news. Also, Shiv regards him icily. Did this happen before or after Tom’s betrayal? Inquiring minds are freaking out.

Another shocker: a note in Logan’s personal safe nebulously indicated (underline? cross out?) that Logan wanted Kendall to take over Waystar Royco (which is obv not the same company now, so it would be an interim decision until the sale happens). The board, however, felt that Kendall and Roman should take over, which sent Shiv reeling, and falling down a few stairs. Uh oh.

HBO’s Succession airs on Sunday nights at 9:00pm EST.

Tyler The Creator made a surprise appearance during his friend Kali Uchis’s Coachella set, where the pair of frequent collaborators reunited to perform their 2017 hit “See You Again.”

https://twitter.comNariety/status/1647768877307416583

Uchis was also joined by Omar Apollo, who performed their collaboration “Worth The Wait.”

Kali had previously joined Tyler The Creator on his Call Me If You Get Lost tour after contributing to “See You Again” from his Grammy-nominated album Flower Boy. They reunited in 2018 for “After the Storm” from Uchis’ album Isolation.

Meanwhile, Apollo and Uchis first teamed up in 2020 on Apollo’s Apolonio single “Hey Boy.” They collaborated again in 2021 for “Bad Life” from Omar’s follow-up album Ivory, which dropped last year. “Worth The Wait” appears on Kali Uchis’s recently released album Red Moon In Venus.

Interestingly, Uchis was one of the surprise performers for another Coachella set. On Friday night, Kaytranada’s set included surprise appearances from Uchis, who performed their 2019 Bubba collaboration “10%” — which they premiered at that year’s Coachella — and Aminé, with whom Kaytranada is releasing their joint album Kaytraminé later this spring.

Kali last performed at Coachella in 2018 — and Tyler The Creator also popped out at that show.

You can see surprise appearances from Tyler and Omar Apollo in the clips above.

The Miami Heat were considerable underdogs as the 8-seed heading to Milwaukee to take on the top-seeded Bucks, but in Game 1 they jumped all over the Bucks early and never relented on their way to a 130-117 win. The game saw both teams lose important players, with Giannis Antetokounmpo suffering a back injury on a hard fall in the first quarter and being unable to continue and Tyler Herro breaking his hand in the second quarter for Miami.

Both teams had wing stars go for big games, as Jimmy Butler was sensational with 35 points and 11 assists, while Khris Middleton had 33 points to do what he could to keep the Bucks in the game without Giannis. It was the performance of the rest of the rosters that earned Miami a win, particularly with their three-point shooting as they knocked down 60 percent of their threes compared to just 24.4 percent from deep by Milwaukee. Health looms large, as Herro’s series is over and Giannis’ status is a question mark for Game 2 and beyond. Antetokounmpo’s status, of course, will be the most important thing in how this series progresses, but here we’ll look at three non-injury takeaways from Game 1 that will play a critical role moving forward.

Bam Adebayo Showing Up Offensively

Adebayo was not a particularly big factor offensively in the Play-In games, but his role in this series is particularly crucial because of how Milwaukee defends the pick-and-roll. Because Brook Lopez is constantly in a deep drop to stop opponents from getting looks at the rim, there are a ton of opportunities for Adebayo to get the ball in the short midrange and score. On Sunday, he took those opportunities and turned them into 22 points (and seven assists) on 18 shots, as he did well to be assertive, particularly once Herro went out of the game.

Without Herro, who will miss the rest of the series, Butler needs someone to be a release valve. Butler’s playoff track record is so strong that while he might not go for 35/11 every night, it’s not unreasonable to think he can continue producing at a level fairly close to that on a regular basis in this series. That’s provided the rest of the Heat can do enough to force Milwaukee to defend the entire floor, and Adebayo represents one of the key elements to that. The floor spacers will go through hot and cold spells from three, but Adebayo can be a consistent outlet inside the arc. The question is whether he’s willing to be aggressive enough in seeking out his own shot to make Milwaukee pay for that deep drop, willing to accept a few open misses and not be deterred. If he does that, it will give Miami more dimension to their offense than being as reliant on threes falling as often they were in this one.

Is This Just What Jrue Holiday Is In The Playoffs?

We are now into our third season of Jrue Holiday being highly inefficient as a scorer in the postseason, and it’s a genuine concern for the Bucks, particularly with Giannis banged up. Middleton’s postseason excellence is expected, but unlike Butler, there’s got to be at least some worry about his ability to hold up given his knee issues if asked to be this important to the Bucks’ offensive creation. That’s where Holiday, theoretically, steps in to be an offensive leader, but he’s been a sub-40 percent shooter for two straight postseasons (and a 30.8 percent three-point shooter). On Sunday, he was once again effective as a facilitator (16 assists), but as a scorer he was predictably rough, scoring 16 points on 6-of-18 shooting (2-of-9 from three).

There is no other option for the Bucks other than playing Holiday massive minutes because of his defense and his creation for others is so important to their offense they can’t take the ball out of his hands. That said, if he’s going to shoot like this, he has to figure out how to be a more selective shooter. Holiday has had one of the stranger green lights in the league since arriving in Milwaukee, regularly pulling up for what we’ll call interesting early clock shots. That works in the regular season given the Bucks’ general dominance, but in the playoffs when their margins get tighter, it can be a real issue. Holiday was a massive reason they won the 2021 title even with his shooting woes, so it’s not something they haven’t dealt with successfully in the past, but with Giannis out, the likelihood of them overcoming nights like this from Holiday shrinks considerably.

Can The Heat Stay Hot From Three?

I’m not talking about shooting 60 percent from deep, because that’s not going to happen, but their pathway to success in this series always required them to shoot it much better than they did this regular season (34.4 percent). Kevin Love suddenly being a positive impact player was a massive boost in Game 1, as he knocked down four threes and scored 18 off the bench — although his ability to avoid being put in trouble spots on defense decreases considerably when Giannis is on the floor. Even without Love’s surprising shooting night, the rest of the Heat’s “others” all had very good nights from three.

Max Strus, Caleb Martin, and Gabe Vincent were 8-of-12 from three on the night, and they’re going to continue getting very good looks given how Milwaukee plays defense, collapsing on stars when they drive and being willing to give non-elite shooters open looks with late closeouts. This has always been the issue for Milwaukee’s defense in the postseason, but they bank on opposing teams not being able to shoot at a strong enough clip for seven games to beat them. That is usually the case, but at this point, Miami only has to do it for a few more games to make things very interesting for the top seed in the East.

On the flip side, will the Bucks find the bottom of the net from three? Brook Lopez went 0-for-3, Middleton and Holiday were a combined 4-for-16, and Jae Crowder, Bobby Portis (who was otherwise terrific), and Jevon Carter combined to shoot 0-for-11 from deep. This is far from the first time Milwaukee’s had a rough shooting night in the playoffs, and the biggest knock on them over the years has been a halfcourt offense that bogs down and struggles to knock down shots. It’s not real fun to talk about three-point variance being the biggest part of a series, because there’s not much to say other than “guys have to make shots.” But after Game 1, it really might come down to whose guys make shots.

In late March, the news broke that Oscar Award-winning musician Questlove was set to direct Disney’s live-action remake of The Aristocats. Originally released as an animated movie in 1970, the movie will see quite a few changes, or so Questlove joked on Instagram.

Taking a fan-created mashup from the original film in which the famed animated cats were gathering around, playing and singing along with the orchestra piano, but there was a slight adjustment. Instead of the beloved jolly musical score, instead is a blaring metal track.

Uploading the clip to his official Instagram page, the musician captioned the video, “Think I won’t? Psssssh 90 mins of just this…watch,” joking about the creative liberties he plans on taking in the movie.

Garnering over 27,000 likes in less than 10 hours, it seems like fans are feeling the modification to the animated children’s film classic.

One follower in the comments section wrote, “I’m here for it!!!!! This is my fav part of the original film!!! The cats were PRAISING, ya hear me?!?!?!”

Another user wrote, “Meowtalica.”

“Everybody Wants to BE A *LOW GROWL* CAAAAAAAT,” chimed a user reimagining the film’s original song.

Even actor Michael B. Jordan joined the comments leaving a trail of crying laughing emojis.

At this time, the movie has not yet received a public release date.