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Chris Pratt went heavy on the biblical references when asked how he feels about the “haters” who’ve dubbed him the “Worst Chris” over the years. The actor has been routinely criticized after claims that he belongs to an anti-LGBTQ church. There was also the recent backlash over him voicing Mario in The Super Mario Bros. Movie, but according to Pratt, he doesn’t mind.

While attending a special New York screening of Guardians of the Galaxy Vol. 3, Pratt responded to questions about whether he feels he’s attacked for his Christian faith.

“I sure do but that’s nothing new, that’s nothing new, you know?” Pratt told Page Six before quoting The Bible and noting that Jesus also wasn’t accepted during his time, which is quite the comparison to make:

“If I was of this world, they would love me just like that but as it is, I’ve chosen out of this world. That’s John 15:18 through 20,” he shared.

“That’s the way it is, nothing new, 2,000 years ago they hated him, too,” he added, referencing Jesus Christ.

For the record, Pratt officially denied attending Hillsong Church back in June 2022 after accused of attending the church which has known anti-LGBTQ beliefs. And the actor did tell the truth. Pratt does not attend Hillsong Church. However, he does attend Zoe Church, which has close ties to Hillsong and modeled itself after the controversial church that has ties to major celebrities like Justin Bieber and the Kardashians.

(Via Page Six)

In case you went off the grid over the weekend, King Charles was officially coronated on Saturday in a lavish, gold-encrusted ceremony that inspired Monty Python jokes and reportedly cost the U.K. taxpayers up to $125 million in a time of economic turmoil. At least we got a good Katy Perry moment (and response) to watch from this side of the pond, but it would be understandable if the British public wasn’t so thrilled after a lip reader’s claims about what Charles allegedly said within his golden carriage.

Not too terribly long after Charles appeared to be testily demanding that a staffer clean his desk, this new claim isn’t going over well either.

Sky News posted video footage that shows Charles appearing to be displeased with something. The footage is superimposed with alleged complaints such as “this is boring,” “we can never be on time,” and “there’s always something.” According to The Daily Beast, this took place while Charles spent five minutes waiting outside of Westminster Abbey before the coronation ceremony. Here’s the footage, so you be the judge.

He’s seemingly not thrilled about something. There’s no telling whether the lip reader’s claims are accurate, but lest one think that a Yank interpretation of British temperament is to blame, it sure seems like some Londoners aren’t thrilled either, from the looks of these reactions.

Again, this ceremony mostly happened on the taxpayer’s dime since the coronation was considered to be a state function. There’s been no comment from Camp Charles as of yet.

(Via The Daily Beast)

The Weeknd has been one of the most successful pop stars of the past decade-plus, but at some point soon, The Weeknd may be no more.

In a new feature for W, the singer, whose real name is Abel Tesfaye, said, “I’m going through a cathartic path right now. It’s getting to a place and a time where I’m getting ready to close the Weeknd chapter. I’ll still make music, maybe as Abel, maybe as The Weeknd. But I still want to kill The Weeknd. And I will. Eventually. I’m definitely trying to shed that skin and be reborn.”

He also noted, “The album I’m working on now is probably my last hurrah as The Weeknd. This is something that I have to do. As The Weeknd, I’ve said everything I can say.”

Elsewhere, he spoke about letting his home be used for filming The Idol, saying, “The bedrooms were now greenrooms; the bathrooms were for hair and makeup. We built a music studio in the basement so Mike Dean, who helped compose, and I could score the show while we were filming. I had to stay in character, so I took my dog and we lived in another house. My home belonged to the show; it was a hub of activity. We were trying to blur the line between fiction and reality. We had cameras going all the time. It was weird when they all left. I changed all the furniture. I replastered the walls. But the soul of Jocelyn’s house is still in there.”

Check out the full feature here.

Ed Sheeran is celebrating the May 5 release of – (Subtract), his latest mathematical and perhaps most vulnerable album, but he kept adding vehicles to his subsequent “The Subtract Experience Pop-Up” performances over the weekend.

In New York, New York on Friday, May 5, Sheeran climbed atop a Volvo in the middle of the street outside of his pop-up and performed “Boat,” one of his Subtract singles. The North American leg of his Mathematics Tour kicked off on Saturday, May 6, at AT&T Stadium in Arlington, Texas, but not before Sheeran visited “The Subtract Experience Pop-Up” in Dallas that afternoon.

Sheeran arrived in an ice cream truck and served ice cream to his fans before, yet again, climbing to the roof of the vehicle. This time, he serenaded everyone with an acoustic version of “Eyes Closed.”

“The Volvo took too much weight yesterday, so I got an ice cream truck for the Dallas pop up. LA I’ll see ya tomorrow x,” he captioned his Instagram post capturing his Dallas appearance.

And as promised, Sheeran attended the Los Angeles pop-up on Melrose Avenue on Sunday, May 7.

“LA pop up, see you there this morning,” he wrote to his Instagram Story. “I have a different vehicle for more fun. RIP the Volvo.”

LA’s vehicle du jour was a double-decker tourism bus. Sheeran delivered “Eyes Closed” and “Boat.”

Sheeran is next scheduled to bring his Mathematics Tour to NRG Stadium in Houston, Texas on May 13. His more intimate Subtract Tour will begin at Ruth Eckerd Hall in Clearwater, Florida on May 19. See all of his upcoming tour dates here.

– (Subtract) is out 5/5 via Asylum and Atlantic. Find more information here.

Ed Sheeran is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

For everything Barry has said about the self-delusion of redemptive paths, the screwball soul of organized crime, and the messed up ways we seek and express love, it’s the show’s darkly comedic take on the Hollywood shuffle that thrills me most. And no character has embodied that dysfunctional dance better than Sarah Goldberg’s Sally Reed, a character that has been on a roller coaster from attention-seeking student to artsy “It” talent, to showrunner, pariah, teacher, and scheming acting coach. Through it all, Sally has also existed in the show’s central relationship, forming a powerfully mismatched duo with Bill Hader‘s Barry.

As we saw at the end of last week’s episode, though, something about that pairing still works for Sally, leading her to step, arm in arm with Barry into a whole new life of repression, routine, and the occasional dance with the bottle, violence, and the prospect of getting found out. So, why did Sally go with Barry and, perhaps more importantly, why has she stayed? Uproxx spoke with Goldberg (who Hader has praised for her ownership of the character) about those decisions, whether she judges her character, and what it feels like to walk away from the show.

What was your reaction when you found out that the show was going to come to an end after this season?

It was a mixed bag. I was obviously sad. And there are so many people I’m going to miss working with. But at the same time, I felt like the story was ready and the pitch of where they wanted to go with the story was so excellent and it felt like the right thing to do for the story. So there was an acceptance as well that, yeah, it’s time.

Sometimes actors will say they don’t want to judge their character, sometimes it’s just human nature to judge. How has your relationship with the character changed from the start of the show to where we are at this point?

I mean, I’ve always cared a great deal about Sally, and she gets a lot of criticism, but I’ve always felt like defending her. I’ve always thought you don’t have to like her, you just have to know her. And I felt in the beginning that she had all these qualities of vulnerable women I’ve met in Los Angeles. And she had ambition and tenacity and all these things, but maybe in too many scoops. And she would always set out with these great intentions, but push things too far, and tilt things too far until her Achilles heel I think was going too far in every direction.

And I’ve always had huge empathy for her. I’ve never really judged her. I mean, I think she makes bad choices, so I guess that’s judging her. But I’ve never really come at it from that angle. You try to see everything from their point of view and understand why someone’s making the decision that they’re making in that moment. And with all these characters that are morally dubious and often making the selfish choice or the wrong choice, it would always be about getting underneath why, what’s motivating that choice? Why are they behaving that way? And that was the fun, and the agility in the writing and with all these characters of figuring out what makes people tick. And so often they’re given the opportunity to better themselves and they’ve got a better path to take and they don’t take it. So that leads to endless fun and drama.

I know you’ve been involved in shaping the character too. Can you talk a little bit about just the decision that she makes as we go from episode four to episode five where she goes along with Barry and he and Sally create this whole other life? Is that something where you need to dig in a little to understand her reasoning for making that decision?

I think on first read, I couldn’t see the building blocks there, so we had to build her a clearer path. Which we tried to set up in episode two when she goes to see Barry in prison and the line she says, “I feel safe with you.” And I think her reasoning behind saying that is that Barry was the only person present when she was the most animal version of herself. And she’s committed this crime and has this overwhelming guilt and fear around what she did. And the only person who was there was him. And so there’s a relief in being with the person who bore witness and is accepting of her anyway and loves her anyway. And their love story has never been a love story, it’s always been a tragedy.

And I think in that moment, the closest they’ve ever been when they connect is in those moments right after she’s killed this guy. And I think that where we see her in episode two when she sees Barry and she says she feels safe with him, it’s rooted in the fact that they connected, their pact was forged in blood.

And by the time we get to the end of episode four, I feel like in episodes three and four, she’s suffered her final Hollywood humiliations. Like the failure as a teacher and then to be on set and have that experience where she pours her heart into a performance and thinks for one brief moment maybe she’s saved her career, maybe she’s just given the speech of her life and this director’s going to cast her in this movie and everything’s going to be okay… And to be squashed and told actually somebody prettier needs to say it like that. I think she’s really done. And so the news when Barry escapes, you’d think she’d be terrified, but I think she sees her exit strategy and just thinks, let’s get out of here. It’s not a healthy train of thought, speaking of judging, it’s not a healthy choice.

But like you’re saying though, it’s easy to have empathy because it feels like not just a commentary on the character, but also on the world. I mean, the world moves fast, especially in any industry that’s as competitive as Hollywood. I think it’s obvious that she’s lacking people in her life that can be an alternative to make her feel safe, even her family.

I know. She can leave home and search for some kind of solace or comfort, protection, security, anything, and is met with the opposite. And I like that we had that first episode going back to her home and meeting her parents because I think it also explains why Sally is the way she is. And she’s so verbose, almost to the point of belligerence at times. But once you meet her parents and realize nobody’s listening to her, nobody’s taking care of her, you can see where the origins of that person began.

So as we end episode five, Barry’s off to LA, Sally is still with him after, I guess it was eight years, and we get a sense of what we’re talking about here of why she went with him. But why has she stayed with him? And what is her mindset like at this point?

I think at that point she’s trapped in a lot of ways. And I think she’s developed a serious drinking problem. Understandably, I think. And she’s not well by the time we see her in the latest episode. And I think the one thing she has going is that she’s decided, for whatever reason, she’s going to give a performance as Emily. So in her workspace, when she’s got her wig and her nails and her accent, it’s like she’s still getting to act in a way. And I think there’s some tiny piece of solace in that.

But I think the rest of it, she’s really trapped. I think she’s afraid to go back to her old life because she doesn’t know what would happen. Would she be punished for what she did? And she doesn’t know how to face the crime that she committed, even though arguably it was self-defense. And so I think she feels trapped. I think that the feeling safe with Barry holds, it’s just she also feels miserable, safe and miserable. So she stays. She stays.

The scene with her and her co-worker in the bathroom, is that an extension of the performance that she’s doing, or is that just because she needs to feel danger and control something?

I think that there’s something in her in that scene where she’s testing how far she might go. I think that there’s a lot of rage boiled up in her, understandably after an abusive marriage. Now she’s in an abusive relationship again in a different kind of way. All the humiliation she experienced in Los Angeles and the trauma of the murder. I think she’s playing with fire in that scene where she doesn’t know how far she might go. And there’s a little aspect of her that wants revenge and vengeance for everything that she’s been through. And I think she’s punishing him and she’s testing herself.

But ultimately I think that her morality wins in that scenario and she’s never going to take it any further than that. Then she drops the accent, the wig comes off, she drops the veneer. And I think that’s a genuine moment where, yeah, I think she’s felt so much fear, I think that there is a desire to exercise some power in that dynamic and say enough is enough. And the way he treats her at work and she’s not going to have that kind of harassment again in her life.

The final season of ‘Barry’ continues on HBO Sundays at 10PM ET. Goldberg also co-created and can be seen on ‘SisterS,’ which debuts May 17 on IFC.

You’ve watched the Barbie trailer at least 50 times (no? just me?). Now, enjoy the trailer for the other big-event movie coming out on July 21st.

Directed by Christopher Nolan, Oppenheimer stars Cillian Murphy as the “father” of the atomic bomb, J. Robert Oppenheimer. The cast also includes Emily Blunt as Oppenheimer’s wife, biologist, and botanist Katherine “Kitty” Oppenheimer; Matt Damon as General Leslie Groves Jr., the director of the Manhattan Project; Robert Downey, Jr. as Lewis Strauss, a founding commissioner of the U.S. Atomic Energy Commission; Florence Pugh as psychiatrist Jean Tatlock; Benny Safdie as theoretical physicist Edward Teller; and Josh Hartnett as American nuclear scientist Ernest Lawrence.

Nolan recreated an atomic explosion without the use of CGI for Oppenheimer, which he called a “huge challenge.” That’s quite the understatement. He also said the film, his first since the pandemic-era Tenet, is “one of the most challenging projects I’ve ever taken on in terms of the scale of it, and in terms of encountering the breadth of Oppenheimer’s story. There were big, logistical challenges, big practical challenges. But I had an extraordinary crew.”

I haven’t been this stressed out by the sound of radiation meters since Chernobyl.

Oppenheimer opens on July 21st.

Taylor Swift played the final Nashville show of The Eras Tour last night (May 7), but for a while (a long while), it looked like the concert was in jeopardy.

As The Tennessean notes, Swift shows this tour have typically started at about 6:30 p.m. with the openers, then Swift goes on at around 8. at 7 last night, though, the concert venue, Nissan Stadium, issued a shelter-in-place warning due to severe thunderstorms.

It was extremely rainy over there, as fan videos like this one show:

As the delay continued, Swift assured fans she intended to take the stage, tweeting at 7:54 local time, “Even though we have one last show in Nashville tonight I just have to post these photos causeeeee… it’s been WILD. I got to announce Speak Now (my version) is coming on 7/7, got to perform ‘Nothing New’ with boss genius/baby angel face @phoebe_bridgers for the first time, and have been so moved by these beautiful, generous Nashville crowds!!!! I just can’t believe it. PS I know there’s talk of a rainy weather vibe tonight but I’m ready to play, see you sooon!!”

A bit over an hour later, things were looking more promising. The National Weather Service Nashville tweeted at 9:17, “I bring you good news, weather peeps. Ready for it? The storms are weakening considerably and there is currently no lightning threat for downtown Nashville. There will be showers in the area lasting into the overnight hours, but the strongest cells will be in areas further south.” Minutes later, Nissan Stadium tweeted, “Drop everything now! Meet me in the pouring rain! Shelter in Place has officially been lifted! Fans, please start safely making your way to your seats. Once production wraps up, Taylor Swift will hit the stage! #NashvilleTSTheErasTour.”

Despite the delay, Swift, being the dedicated performer she is, didn’t cut her show short, as setlist.fm indicates.

Not too long ago, famous lipstick wearer Lauren Boebert inadvertently reminded people that she has a GED while pushing back at the idea of student loan forgiveness. Over the weekend, Boebert voluntarily reminded everyone of that GED because it was a useful reference while she criticized Kamala Harris’ public speaking skills.

Of course, Boebert misses the point while believing that her GED is why people pile onto her on a regular basis. She has frequently trashed education to the point where she called to abolish the entire education department. And given that she only acquired her GED a mere few months before being elected to Congress, her interest in pursuing it probably had little to do with actual learning. She’s also stepped in on previous occasions by proposing a lot more time for lawmakers to read bills, so there’s that.

“The same people who will try and knock me for having a GED think this lady represents intelligence and eloquence,” Boebert tweeted. “Whoever paid for her education wasted their money.”

People were quick to come for Boebert, not because she has a GED but because of her behavior as an elected official. She’s frequently combative, hops to conclusions, and launches into false equivalencies at the drop of a rootin’ tootin hat. And she may be ignoring replies on Twitter, but users let her know that the GED is definitely not the issue here.

And less tweeting and more debt-ceiling talk resumes… soon?

Nearly a year after his tragic passing, Ray Liotta‘s cause of death has been revealed. TMZ reports that the Goodfellas actor died from “respiratory insufficiency, pulmonary edema — a.k.a. fluid in his lungs — and acute heart failure.” Liotta also suffered from “atherosclerosis — a thickening of the arteries caused by a buildup of plaque in the inner lining — something that often leads to diabetes and other health issues.”

Liotta was only 67 years old when he died on May 26, 2022, in the Dominican Republic, where he was filming a movie.

“I’m absolutely shocked and devastated by the sudden, unexpected death of Ray Liotta. He was so uniquely gifted, so adventurous, so courageous as an actor,” Goodfellas director Martin Scorsese said about his star. “Playing Henry Hill in Goodfellas was a tall order, because the character had so many different facets, so many complicated layers, and Ray was in almost every scene of a long, tough shoot. He absolutely amazed me, and I’ll always be proud of the work we did together on that picture. My heart goes out to his loved ones, and it aches for his loss, way too early.”

Liotta will posthumously appear in Fool’s Paradise, the directorial debut from It’s Always Sunny in Philadelphia star Charlie Day, and horror movie The Substance, alongside Demi Moore and Margaret Qualley.

(Via TMZ)

When it comes to Australia, Azealia Banks isn’t feeling the love.

In a series of Instagram Stories shared yesterday (May 7), Banks wrote about how her recent single “New Bottega” was handled in Australia, claiming a “piss poor remix of my master track” was released over there instead of the preferred version. She writes more about the song and her record contract before going after Australia and its music industry more generally.

“I don’t think they realize how unimportant they are as far as music culture goes because they’re deluded with the idea that their whiteness makes Australia an A Market, when it’s truly a C-D market,” Banks said. “Brazil is a MUCH more important market for music than australia lmao. (this is mostly because Australia has an an extreme dearth of internationally appetizing talent outside of Kylie minogue , INXS & AC/DC, {tame impala is just cheesy to me, and wolfmother is excellent – but clearly an American rock tribute band}.”

She continued, “Australia doesn’t really have many music acts that anyone truly cares about on a global scale because they’re in a vacuum of off-brand British culture,” noting she thinks they have “actually created one of the most culturally stale white nations on the planet.”

Read Banks’ full posts below.

“Sidebar: I’m reading this article in the Guardian about the ever dwindling and insignificant Australian music industry and have SO MANY THOUGHTS AND COMMENTS, but the delusions of the Aussie music execs quoted in this article is f*ckkkng astonishing and making it clear to me how sheer jealousy, racism and desperation allowed @sweatitoutmusic to purposely sabotage a bonafide hit in lieu of their fragile fragile egos and DESPERATE attempts to try and steal my IP. The Australian music industry is so devoid of internationally appealing talent they literally harrased, threatened, menaced and corruptly stole my IP. Let’s take a deep dive.

the version of my song New Bottega, the Australians released as The final composition is actually a piss poor remix of my Master Track , and should not be titled ‘New Bottega’.

There’s no language stating that any ‘left over ideas’ do not belong to me. Because they essentially treated the fully mixed mastered single as a discard, when they had it in their possession the entire time, the song splits were not papered once done,
and they have nothing with my signature confirming ‘New Bottega’ as the song that qualifies the parameters of the initial contract.

They left it as ‘TBD’ which was stupid on their part. So they basically denatured my intellectual property, cherry picked what they wanted from it and fraudulently presented it to the world AS the song EYE wrote. And they released it, so that is the only version of the song they have claim to. My Sony atv deal explicitly states that I am not allowed to assign control of my publishing/vocals etc to any entity. Again I was very f*cking sick when I signed the deal and really just signed it so They would stop calling me at 2am and let me rest. The fact that they are steadfast on trying to have ownership over something that is going to make them no money without my involvement is asinine. They fact that they are so obsessed with owning my vocals but adamant about treating me poorly and adamant about not investing in such a massive song (the tik tok stats and best of year end lists literally proved that the product works, what’s the point in changing it?) is literal stupidity. Whatever remix they released is not ‘New Bottega.’ So they don’t have the right to title their remix track as such. ‘New Bottega’ is my intellectual property, and time has proven that these aussies have zero clue how to market this song, absolutely no knowledge of the big business that is American female rap, or how to engage with Azealia Banks and leverage the power of her already established international fanbase to their advantage… here I am LITERALLY telling them how to get my fans excited- and they re taking it an insult.

For the record. ‘New Bottega’ by Azealia Banks Is a hiphop record. It is not a dance record. Categorizing it as a dance record was their first wrong marketing move. Clearly -There is a cultural dissonance here. HipHop is the most profitable genre of music in the world right now. EDM is f*cking dead For people so thirsty to try and own the rights to my vocals , you’d THINK they had some huge money play to go along with all of the empty and baseless threats to sue me. (lmao, can’t sue me for not participating in promoting garbage.) if they were good crooks – they would have at least kept their racism under wraps long enough to have taken my photo and shot a video to have assets to promote their bullshit with) For all of the dsp c*cksucking @sweatitoutmusic did in effort to try and prove to me that their marketing strategy was better than mine – registering it as a dance song Was the most anti-algorithmic sh*t an algorithm dickrider could have done. F*cking stupidity.

Australia’s media /music /entertainment industry isn’t exactly heralded by the heads of government or anyone in the world as a coveted cultural export, I don’t think they realize how unimportant they are as far as music culture goes because they’re deluded with the idea that their whiteness makes Australia an A Market, when it’s truly a C-D market. Brazil is a MUCH more important market for music than australia lmao. (this is mostly because Australia has an an extreme dearth of internationally appetizing talent outside of Kylie minogue , INXS & AC/DC, {tame impala is just cheesy to me, and wolfmother is excellent – but clearly an American rock tribute band}

Australia doesn’t really have many music acts that anyone truly cares about on a global scale because they’re in a vacuum of off-brand British culture. Could be do to with it being geographically so out of the way and how aggressive, barbaric, oppressive and violent they have been in regards to the very existence of native black peoples that they’ve actually systematically stomped out their country’s own ability to develop its own music/arts culture – to instead look to England and the USA for ideas to regurgitate not realizing that the reason the Australian music industry and Australian culture is so trash is BECAUSE of their country’s historical post colonial obsession with I guess, trying to prove to England and the Monarchy that they -a legion of convicts/mentally insane social rejects – were in fact a proper white/Anglo-saxon society – using the massacre/ subjugation of black/indigenous peoples (manifest destiny bullshit) and theft of their land as a marker of national strength

But they have actually created one of the most culturally stale white nations on the planet.

The fact that these aussie music execs are COMPLETELY OVERLOOKING THE CORRELATION BETWEEN THE GOVERNMENTS PURPOSEFUL ETHNIC CLEANSING OF NATIVE PEOPLES AND THEIR INABILITY TO PRODUCE MUSIC ANYONE ANYWHERE CARES ABOUT IS F*CKING COMEDY .

Someone has GOT to tell the Australian music industry that Absolutely no one on earth takes it seriously. Like, they HAVE to understand how untalented/uncultured and unneeded they are to the greater global arts community, realize musical talent is just not in the gene pool, and redirect those funds to the aboriginal peoples of the continent and just pack their shit up and go back to Europe. LMAO. Y’all stomped all the blackness out of Australia – which is why your music exports suck and we don’t feel bad for you lmfaooooooo.”