In a recent interview, Bryan Cranston was asked what musician he’d like to play in a biopic and he responded, “Willie Nelson comes to mind. The hair and the beard. I think there’s some physical resemblance. He’s very old and wrinkled, and I can relate to that [laughs]. So I wouldn’t have to wear a lot of makeup. Willie’s had a fascinating career – as a writer and as a performer, and as a free speech person, being anti-war and on the forefront of hemp [culture]. That’s kind of interesting to me, even though I don’t vibe with that stuff. I don’t like smoking, it just doesn’t do it for me.”
It turns out Cranston was spot-on when it comes to the physical resemblance between him and Nelson, as he proved on The Tonight Show yesterday (March 14).
During the interview, Jimmy Fallon mentioned the Nelson interview quote and later produced a wig-and-bandana setup in the style of Nelson. After a big laugh, Cranston put it on, along with a fake beard, and the result was really convincing as Cranston sang a bit of the classic Nelson and Julio Iglesias duet “For All The Girls I’ve Loved Before.”
Check out Cranston’s Tonight Show interview above.
In honor of their new 12th mini album, Ready To Be, dropping recently, Twice stopped by The Kelly Clarkson Show yesterday (March 14) to treat fans to a performance of their sparkling “Moonlight Sunrise” single.
As she introduced the band, there were several fans in the audience who had light-up glowsticks. Throughout Twice’s performance, they made full use of the large stage space to space out their coordinated choreography, as the members took turns tackling different parts of the song.
During the episode, Clarkson also spoke to the band, including lead dancer, Tzuyu — and wanted to make sure she was pronouncing her name correct through the translator. “How do you want me to say it?” Clarkson asked, to which the Twice member said it’s said like “dewie.”
“I think I said it right,” Clarkson added. “I’m trying.” The host then went on to ask about the meaning behind their song.
“’Moonlight Sunrise’ is a song about wanting to know the other person’s heart, and they use the metaphor of ‘moonlight’ and ‘sunrise’ to parallel that fluttering heart feeling when you’re in love,” Tzuyu sweetly shared, as the other Twice girls nodded in agreement.
Clarkson also chatted with the other members about how Twice was formed and what their favorite things are to do in America. Sana said she likes seeing Once (the fan base) “face-to-face.” Momo enjoys going to the grocery stores. Meanwhile, others just love the food, like pizza and pasta.
After asking the girls, Clarkson also complimented Jeongyeon. “You have a very beautiful speaking voice,” she said. “It’s like low and sultry. Yeah, very deep, I like it. I love it.”
Check out Twice’s “Moonlight Sunrise” performance and their interview clips above.
Kelly Clarkson is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Drew Barrymore is continuing her quest to be crowned the next great queen of live television, and she is doing pretty well so far! The beloved actress, entrepreneur, and mommy (?) of The Drew Barrymore Show will bring her hosting skills to The MTV Movie and TV Awards this spring, where she will hopefully pull out her uncanny M3gan impression for a worldwide audience.
The ceremony will be held on May 7th and will honor the biggest and best in both movies and television. In a lovely/slightly creepy promo, Barrymore brings together all of your favorite 2022/2023 movie faves. Cocaine Bear! Ghostface! Who knows what she’ll do with Avatar.
The nominees are set to be announced at a later date, but last year’s big winners included Spider-Man: No Way Home and Euphoria. So basically, anything with Zendaya in it is sure to do great.
Drew is no stranger to the awards ceremony, as she has three of the coveted golden popcorns from her iconic work in The Wedding Singer and Charlie’s Angels along with a nomination for her already world-famous talk show that is the best and most chaotic thing to happen to daytime television since The Price Is Right premiered!
The MTV Movie and TV Awards will air on May 7th at 8 pm on MTV.
Anticipation is high for Ellie Goulding’s upcoming fifth studio album Higher Than Heaven. Singles like “Let It Die” and “Like A Saviour” have become instant fan favorites. Last night (March 14), the UK pop artist paid a visit to The Late Late Show, where she gave fans a new taste of her upcoming album.
On the stage of The Late Late Show, Goulding debuted a new song, “By The End Of The Night.” Clips of the song have previously surfaced on TikTok, but this is the first time she has performed it in full.
The song takes inspiration from ’70s and ’80s pop sounds, as she delivers soft-tinged vocals over a synth-heavy beat.
“By the end of the night / I wanna feel like the sky is dripping on every part of me / And by the end of the night I wanna look at the lights chasing the shape of you next to me / And by the end of the night, I wanna be the only onе in the world / When I look in your eyеs, I see you’re mine / By the end of the night,” she sings on the song’s chorus.
At the end of the performance, Corden rushed to the stage to give Goulding a hug, and revealed that the single version of “By The End Of The Night” would arrive March 22.
Watch the performance above. Goulding also had a brief chat with Corden about the Oscars, new music, and more, so find that below.
Higher Than Heaven is out 4/7 via Polydor. Find more information here.
While on whip-its in a bar in Austin, Texas, Eric Andre uttered the question we, as a society, have been grappling with for a long time now: How did Chet Hanks become so … Chet Hanks?
The comedian is attending SXSW at the moment to promote the latest season of his Adult Swim series, The Eric Andre Show. As such, he’s required to speak to the press, which is how a Rolling Stone interview happened to coincide with Andre’s daily dose of nitrous — for his nerve. While chatting with the outlet, Andre teased an upcoming episode with Lil Nas X, saying the rapper was “the ideal guest.” But it was another name — one that made the prankster’s “never work with this lunatic again” list — that’s making headlines. And those headlines are now digital tinder for a celebrity feud we never saw coming.
According to Andre, Chet Hanks was the worst guest he’s had on his show since it began back in 2012.
“Chet Hanks was a tough cookie. He broke our crew. It felt like Rust,” Andre said, referencing the maligned working conditions on set of the Alec Baldwin film that resulted in the shooting death of its cinematographer. “He broke us down.”
When asked why Hanks was so terrible, Andre had this to say:
He is… emotionally disturbed. He stole a motorcycle and rode it around. He almost knocked a bunch of grips and gaffers off their ladders. It was very dangerous. He tried to prank us back, but we edited out all his bullshit! He’s not well. How did Colin Hanks come out so good and Chet Hanks come out so bad?
South Park creators Trey Parker and Matt Stone have nearly achieved their post-childhood dream of reopening South Park with actual “good food” (courtesy of Chef Dana “Loca” Rodriguez) beyond the famed sopapillas. The pair already set May 2023 as their reopening month (Mother’s Day might slap), which will be nearly two years after the pair purchased the vacant structure that quickly proved to be a money-pit. They could have abandoned ship with that realization but persisted, since “eatertainment” must live.
In the meantime, the pair has kept existing Casa Bonita employees on the payroll before posting an ad to hire about 550 more, and this will truly be an event with witnessing.
In that spirit, a Casa Bonita enthusiast is rallying fellow fans to camp outside the famed pink building, and it sounds like he will be accompanied by over a thousand of his soon-to-be-closest friends. Jesse Vogel launched a Facebook event (“The Great Wait in Line Event to eat the first night at Casa Bonita opening night!”), and very quickly, over 10,000 people expressed interest with 900 fans supposedly committing to attend. On Facebook, Vogel wrote, “This is far better than sleeping outside of BestBuy for a TV. This is sleeping outside for a once in a lifetime historic event!” He also spoke to the Colorado Gazette about gaining the blessing of neighboring businesses:
“Most of the managers were really happy and excited about this happening. They were honestly very interested to hear of the mission plan for The Great Wait in Line Event to eat the first night at Casa Bonita opening night! and fully supportive.”
The time will soon be coming. As this local ABC affiliate video reveals, the venue’s iconic fountain is now operational again and stocked with water. Let the sopapillas flow and the cliff divers be merry.
The term “spoiler culture” is typically associated with TV series like The Mandalorian, House of the Dragon, and The Last of Us. Shows for nerds, or as the late, great Alex Trebek might call them, “losers.” But Jeopardy! recently spoiled the ending of an episode after a “major editing glitch” caused the contestants’ final scores to be shown at the start of the game.
Spoiler alert?
On a recent episode of the Inside Jeopardy! podcast, executive producer Michael Davies explained what the heck happened and issued an apology. “Right off the bat, apologies to the entire audience, we totally blew it at the top of the show,” he said. “We made a horrible error, where we revealed the final scores at the end in the opening cutaway shot during Mayim’s monologue. It’s a series of errors that it’s somehow remarkable that they all happened.”
Davies chalks the editing error to having to re-shoot host Mayim Bialik’s introductions. “Of course, it should be standard procedure — and it is supposed to be standard procedure — that we take the scores on the podiums back to the original level, but it didn’t happen,” he said. “This was then not caught in [post-production], and it was not caught in the final [quality control]. There are so many elements that should check this. We have now put in place a new series of protocols that will prevent this from happening again.”
Paris Hilton’s new book, Paris: The Memoir, was officially released on March 14. It’s an honest look at Hilton’s life, and in excerpts shared by Us Weekly, Hilton writes about her sex tape and how she responded to Pink parodying it in her 2006 video for the song “Stupid Girls.”
Of her status as a sex symbol, Hilton wrote, “The world thinks of me as a sex symbol, and I’m here for that, because ‘symbol’ literally means ‘icon.’ But when people saw that sex tape, they didn’t say ‘icon,’ they said ‘slut.’ They said ‘whore.’ And they weren’t shy about it.”
She then said of Pink’s video, “The whole video is a not-at-all-subtle send-up of ‘porno paparazzi girls’ in general and, specifically, me, in a parody of my infamous sex tape.” She added the tape was “released and monetized against” her will and continued, “Pink sang about ‘outcasts and girls with ambition’ and said, ‘That’s what I wanna see.’ But she chose not to see it in me.”
Hilton added, though, that despite all that, she’s not holding a grudge: “There’s no Pink-Paris feud. That’s not a thing. I have the attention span of a gnat, which means I suck at holding grudges. Anyway, anger doesn’t help; honesty does. So, I’m being honest right now.”
She also wrote, “The release of that private footage devastated me, personally and professionally. It followed me into every audition and business meeting for years. Even now, in a corporate world dominated by men, I look around a conference table knowing that most of the people sitting there have seen me naked in the most degrading way imaginable. […] It’s out there waiting for my children, who will be confronted with it someday.”
Hip-hop and electronic dance music have a lot in common – more than you might be aware of at first blush. Obviously, they share roots – both cultural and geographical – growing out of New York’s dense urban center to become internationally ubiquitous. They were both started by DJs in the inner city using innovative techniques to transform existing genres like disco, soul, and even gospel to offer an outlet for communities that were often ignored and oppressed.
They are both, at their cores, protest music, even when they don’t seem like it. They are a protest against that oppression. They are demands to be heard. They are revolutionary in that they invite their practitioners to defy the obstacles set in their path by system and circumstance. They feed the fire in the hearts of those looking for an escape, for liberation, even if it’s only for a moment or a night.
Nobody knows this better than Chicago rapper Ric Wilson. Like the shared history of the genres he blends together like coffee and cream, his name might not be familiar to you yet. But, if there’s any justice in the world, it will be. And it’ll happen soon; in just over two weeks, Wilson’s dropping a new EP, CLUSTERFUNK, with collaborators A-Trak and David “Dave 1” Macklovitch from Chromeo, two of dance music’s most prolific and respected producers today.
The nine-track project finds Wilson, who garnered critical acclaim in 2020 with his and Terrace Martin’s joint EP They Call Me Disco, branching out from the nu-disco elements that defined his early work and first put him on tastemakers’ radars, incorporating A-Trak and Dave 1s electro-funk sensibilities. But as their chunky bass licks and glittering keyboards move listeners’ butts, Ric aims to uplift spirits and raise awareness with his revolutionary-minded raps.
It’s a combination that sets him apart from his contemporaries in both hip-hop and dance; while similar artists like Channel Tres and Duckwrth also combine dance and rap, rarely do they sprinkle in references to collective economics and curses on unabashed capitalists like Elon Musk. The challenging political material might turn off listeners in another context, but Wilson hopes that the toe-tapping beats will be the sugar to help the medicine go down.
“That’s the content that I always was talking about my music,” he tells Uproxx while sipping an Orange Sunrise smoothie at Kreation juicery in Hollywood. He first began soaking up progressive politics at an early age, courtesy of Chicago Freedom School, a program that teaches teens in the Windy City about past social justice movements and teaches them to organize in their communities.
“My first performances, I was performing at protests,” Wilson recalls. “And I realized that I was starting to get on stages or panels and I was just talking about Black Death and it was just taking apart on me at some point. So I wanted to not keep talking about this oppression stuff. I want to talk about this real shit but then also feel like, ‘How can I do this in a way that I don’t feel so sad all the time and what’s the way that I would want to digest this and what’s something that I haven’t seen yet?’ What if we take Azealia Banks type beat and I talk about Black liberation, what that means to me? Or my own liberation or talk about things around me. So, that’s essentially where that idea came from. And sooner or later, that’s the thing that did make people notice.”
Among those people who noticed were Fool’s Gold founder A-Trak and Dave 1, who learned about Ric’s music through the rapper’s manager. The trio connected during the pandemic in 2020 and started working together throughout the quarantine, finishing the project in the past year. “It was nice to have someone like A-Trak guiding me through a project,” he says of the collaboration. “He was able to hear things and bring out certain things that I couldn’t even hear.”
The growth is evident in songs like the title track and the Zapp-influenced opening track, “Whiskey In My Coffee,” over which even the usually jubilant Ric sounds invigorated. Then there’s “Git Up Off My Neck,” featuring a surprising guest appearance from Dead Prez rapper Stic.man. It’s a voice and subject matter you might not have expected when you first hear the beats, which beg for dance floors to fill before Ric and Stic take advantage of the captive audience to spit some real Fred Hampton shit.
“I feel like in 2020, n****s as artists were important people, especially because niggas had to make a choice,” he explains of the potent move. “It was either literally fascism or talking about my version of what you think liberation is, and then the snowball effect into n****s looking into communism and socialism and all that. Because everyone’s like, ‘What’s the solution?’ You ask a n**** to ask questions and critique sh*t and ‘what’s the solution’ for so long, they’re going to try to look for it.”
It’s a much more proactive approach than a number of artists who got politically active in 2020 – and given the timing of its release, potentially even more effective. But he’s not going to stop at just one EP. He says he’s got a full-length release lined up for after CLUSTERFUNK drops, and he plans to play his first headlining shows in Los Angeles and New York soon as well. Like the dance musicians and rappers that inspired him, he continues to look for ways to spread the message of liberation. And he might have found just the right time for his unique blend of sounds, as the past year has seen a renewal of interest in the Black roots of EDM thanks to projects by Beyonce, Drake, and more.
“For sure Drake and Beyonce were listening to Kaytranada and Channel Tres,” he jokes. “But then what I also thought was really cool though, both of them tapped into a lot of people that have been doing this for a while. Drake tapped in with Black Coffee. I did a lot of sh*t with Defected, and I was working Huntington John and Luke Solomon and them, and Beyonce tapped into that scene. Got so many young Black writers that are in the dance world that now have a Grammy.”
And while those were revolutionary works in their own ways, what Ric Wilson is doing is shockingly original. Maybe enough so to help spark a major shift in awareness of dance-rap, to guide hip-hop as it incorporates sounds and sensibilities from its cousin genre, and to wake audiences up to the possibilities of liberation.
James Corden has made The Late Late Show a cultural staple since taking over the late-night program in 2015. The experience hasn’t been entirely positive, though, as it sure looks like a lot of people hate Corden. He certainly didn’t earn himself public favor last year with joke-stealing accusations and the infamous restaurant situation. So, on the latest “Carpool Karaoke” segment, Bad Bunny got to do something it seems a lot of people wish they had the chance to try: put Corden in a headlock.
Bad Bunny has a strong connection to WWE, and towards the end of “Carpool Karaoke,” that conversation topic came up. So, Bunny and Corden took to a wrestling ring, in which Bunny showed Corden some moves, including a headlock, a camel clutch, and more. Wrestling legend Rey Mysterio also made a surprise appearance and helped Corden develop a more intimidating wrestling attitude.
Bad Bunny is one of the last “Carpool Karaoke” guests before Corden leaves The Late Late Show, as his final episode is set for April 28. That last show will be preceded by a prime-time special, The Last Last Late Late Show. While Bunny is as of now the final confirmed “Carpool Karaoke” guest, given how important the segment has been to Corden, it feels likely there will be some sort of new installment in the special and/or the finale.
Watch Bad Bunny’s “Carpool Karaoke” above.
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