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Report: Nets Owner Joe Tsai Is ‘Completely Done’ With Kyrie Irving

Last week, Kyrie Irving posted a link on social media to a movie containing an array of antisemitic tropes. Despite repeated opportunities in media sessions to condemn antisemitism and the beliefs propagated by that film, Irving failed to do so. Thursday evening, he was suspended by the Brooklyn Nets for at least five games without pay, due to his refusal to disavow antisemitism, and following news of the suspension, Irving took to Instagram and apologized for his behavior.

This is not the first time Irving’s been involved in an off-court controversy during his Brooklyn Nets tenure. Last season, he refused to comply with New York City’s now-outdated vaccine mandate, which sidelined him for the majority of the year. Irving’s latest actions, however, seem to be the breaking point for Nets owner Joe Tsai. According to ESPN’s Stephen A. Smith, Tsai is “completely done” with the All-Star guard.

“From what I’ve been told, Joe Tsai is completely done with him,” Smith said on Friday’s installment of First Take at the 5-minute mark of the above video. “He’s dealing with him because he’s under contract and he has to, but he’s completely done with Kyrie Irving.”

Irving and the Nets did not agree to a contract extension this summer, so Irving opted into his $36.5 million player option. He will be a free agent at the end of this season.

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‘Weird Al’ Yankovic’s New Biopic Song ‘Now You Know’ Is As Fun And Accurate As The Movie (So Very And Not Very, Respectively)

Weird: The Al Yankovic Story has been one of the most talked-about movies of the past few months, and at last, it’s finally out, streaming exclusively on the Roku channel starting today (November 4). The soundtrack is available now, too, and it includes a new Yankovic original called “Now You Know.”

The tune plays over the film’s end credits and fittingly serves as an epilogue to the movie. On the track, Yankovic insists that everything in the film is factual, despite the fact that the movie is very much a highly exaggerated version of Al’s life story.

One excerpt in particular is telling of the song’s tone: “Yeah, that’s how it all went down, bro / We proof-checked every fact / If you still don’t believe it / Well, no skin off my back / Just don’t call me a liar / ‘Cause shut up, you weren’t there / This movie is now canon / Every word is true, I swear / We only changed one thing, I really did play Live Aid with Queen / and I blew ’em off the freakin’ stage! That’s right.”

Yankovic recently told Uproxx of the movie, “I mean, people say that this is not a biopic, but it really is a biopic by Hollywood standards. It’s not a documentary, it’s inspired by real life. And there are enough nuggets of truth sprinkled throughout that I think you can call it a biopic in that sense. I’ve seen a few more biopics since my movie was done, and I still think, yeah, that’s not any less true than my movie.”

Listen to “Now You Know” above and stream the soundtrack below.

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Marjorie Taylor Greene Went Full Ghoul As MAGA Crowd Boos Paul Pelosi, Blames Him For Being Attacked: ‘Paul Pelosi Should Have Been A Gun Owner And Shot His Attacker’

Even if you were to put all politics aside, it’s hard to deny that Marjorie Taylor Greene is a fairly despicable person. Though she’s been in Congress for less than two years, she has quickly made a name for herself by using any news story or tragedy as a way to amplify her message of hate and intolerance. Considering she ran on the promise to try and impeach Joe Biden on her first day in office — a threat she made good on — her continued bouts of bad behavior should not be surprising to anyone. Yet just when you think she couldn’t get any lower, the Georgia congresswoman manages to outdo herself.

On Thursday, Greene yet again served as the hype woman for Donald Trump during a rally in Iowa in which the former president — who lost the 2020 election — teased that he “will very, very, very probably” run yet again in 2024. But before we got to the main act, Marge acted all a ghoul by complaining that “the only crime victim you hear about from Democrats and the media is Paul Pelosi,” with the mere mention of his name eliciting a series of loud boos from the crowd. Because, sure, why not razz an 82-year old man who just had his skull fractured with a hammer by an unhinged MAGA who broke into his home.

Greene, however, managed to victim-blame Pelosi — husband of Nancy Pelosi — by suggesting that things could have turned out differently had he been packing heat while relaxing at home. And managed to cram a few more of her favorite talking points into mentioning Pelosi’s assault:

Paul Pelosi was brutally attacked by a drugged-out illegal alien that should have been deported. And Paul Pelosi should have been a gun owner and shot his attacker.

So there you have it — a Republican who managed to both victim shame AND wish death upon the perpetrator of a crime in one sentence!

(Via The Recount)

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Blue Rojo Is Pumped About His ‘Black Panther: Wakanda Forever’ Song: ‘I’m On A F*cking Album With Rihanna!’

The soundtrack for Black Panther: Wakanda Forever was released today (November 4). For this second visit to Wakanda, multiple up-and-coming artists from Mexico were enlisted, including Blue Rojo. The Mexico City-based singer contributed the song “Inframundo” to the Disney soundtrack.

In September of last year, Blue Rojo went from indie artist to major label when he signed with Universal Music Group. That following November, he released his debut album Solitario where he sang about the pain of his unrequited crush on a straight man. Almost exactly a year later, he considers his inclusion in Black Panther: Wakanda Forever to be his biggest break yet.

“I can’t believe I’m on a f*cking album with Rihanna!” Blue Rojo told Uproxx. “It’s such a dream. I feel so honored to be a part of it and blessed.”

With the introduction of the character Namor, who is played by Mexican actor Tenoch Huerta, the sequel is introducing elements of Mayan and Indigenous cultures. Ludwig Göransson, who helmed the soundtrack, sought out Blue Rojo after hearing his song “Soy Tu Payaso Papi.” Nine months ago, in a studio in Mexico City, he wrote “Inframundo” with Göransson.

“I love that they were mixing this African story with more like the Mayan and pre-Hispanic world of Mexico,” Blue Rojo said. “We were talking about [Chadwick Boseman‘s passing]. We were talking about Mexico. We were talking about the movie’s story. I felt so connected.”

Blue Rojo calls “Inframundo” a song of “mourn.” The track’s title in English translates to “Underworld.” Backed by sparse production, the star of the song is his voice. Blue Rojo’s operatic vocals hit new emotional heights as he sings about being haunted by the spirit of loved one that has passed on. It’s one of the few songs on the soundtrack without a feature and his standalone performance is breathtaking.

“I really felt connected to like an ancestral energy,” Blue Rojo said. “I was really inspired by the pre-Hispanic feeling in Mexico, and that’s what I felt at the time.”

Next up, Blue Rojo will release his new single “La Foto x Whatsapp” towards the end of this month. Wakanda Forever will be released in theaters on November 11.

The Black Panther: Wakanda Forever soundtrack is out now via Def Jam/UMG/Hollywood Records. Listen to it here.

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The Most Intriguing Players In The NBA This Week: De’Aaron Fox Is Playing The Best Ball Of His Career

The NBA is already through the first month of the season. Multiple teams will have played their tenth game by the end of this weekend, Christmas decorations are out at Walmart, it’s all gone by pretty quickly.

Every Friday throughout the 2022-23 season, we’ll dive into three players who have impressed or caught my eye for one reason or another each week. Without further adieu, here are this week’s Most Intriguing Players.

Jalen Suggs

Thursday night provided one of the best games of the season, as the Magic snuck in a close win over the reigning champ Golden State Warriors. No, the Warriors are not at their best and have been off to start the year. Perhaps they could hit the trade market in an attempt to balance out their bench depth. Orlando’s players did not care, nor should they!

This is one of those games that I’m going to come back to in a few seasons when the Magic have matured into a playoff-caliber team. They wanted this win. They competed like heck for it, and as they won, the depth of its importance was felt by the team. Yes, they’re now just 2-7 on the year, but it was evident in Jalen Suggs’ postgame interview and as the buzzer sounded that this meant so much more than that to a young group looking to put their stamp on the league.

Suggs’ final two minutes were nothing short of tremendous, arguably the highlight of his pro career so far. His threes late in the game, the only two he hit throughout, were emblematic of the dynamism he can bring at his best to the Magic as he set a new career high with 26 points.

Orlando has played inarguably the funkiest lineups in the league this season, leaning into their size and length, but it’s been partially out of necessity due to a plethora of injuries to backcourt rotation players. Suggs’ return in the past two games highlights his importance to the rebuild.

It’s difficult to define being clutch and having a gamer mentality, but Suggs fits the bill. His shot is cleaner and smoother in its mechanics than it was last season. He’s more comfortable driving and finishing. He still has looseness in his handle and can struggle through traffic — something to track growth of as the season goes on — but his ball-handling and initiation are game changing.

Nearly every player on the court for Orlando is capable of some semblance of ball-handling and secondary creation. Suggs smooths that over by kicking sets off with his downhill potential and budding pacing and craft out of ball-screens.

He’s not a traditional primary or point guard, but the vision is there for just the right blend of creation and potential ability to shift on and off the ball to make Orlando’s lineups functional offensively.

The defense is already bordering on elite. His hands are fantastic, averaging two steals per game on the season and snagging four against the Warriors. Suggs is adept at using his chest and feet simultaneously to ward off drivers and drag them into the deeper waters of the shot clock.

Suggs is making an impact and finding ways to make strides. As a result, the Magic are on their way.

Trey Murphy III

Say it with me, or maybe even yell it from Bourbon Street: Trey Murphy has creation potential.

That is not something I believed in the slightest coming out of the 2021 Draft, as I way undersold that he was still growing into his body due to a late growth spurt. Murphy was a fairly stiff athlete coming out of Virginia and for much of last season, but there’s a more defined flexibility in his game and his vertical pop continues to stand out, which is impressive considering he plays alongside the best vertical athlete in the game.

Why does this added pliability matter? Simply put, Murphy is already fairly entrenched as one of the best shooters in basketball. Eighty-two players in the league are taking five or more threes per game thus far in the season, and Murphy is stanchioned in the upper echelon, nailing 47.5 percent of his triples, tied for fifth when filtered for volume.

You can’t lose him in transition. He’s made it his mission to seek out open lanes, gaps, and corners in early offense, sprinting to make himself a 6’10 lightning rod that can let fly in a split second once the ball finds its way to his shooting pocket.

The Pelicans run a ton of ball-screen continuity offense, cycling through ball-handlers. I love this considering how it adds flow to the offense inherently and is beneficial to a roster chock full of players who can make decisions with the ball and get into the paint before rinsing and repeating.

By virtue of how he has to be guarded as the shooter he is, Murphy has garnered some secondary on-ball reps out of pick and rolls, something we saw during Summer League as well.

It doesn’t always look sexy. In fact, it rarely does. It’s funky, it’s limby (I’m claiming that as an adjective because it works perfectly here). Regardless, it’s encouraging. He’s toying with some pacing, snaking screens, and getting into floaters, which makes sense considering how adept his touch is. It’s very raw, but the beauty is in that underdone nature, seeing how he’s processing things, making decent reads, trying wacky wrap passes, and exploring the two-man game. I still want to see him sniff out and exploit advantages a little quicker, but that should come with more time and reps.

Figuring out more as an interior finisher will be crucial in the coming months, but where he’s at right now compared to when he was a rookie is staggering. With the shooting chops he already possesses, the real estate market inside the arc is wide open for Murphy.

De’Aaron Fox

The Sacramento Kings are 2-5, and have been absolutely pummeled by a difficult schedule out of the gates. And yet, only one loss has been by double-digits and they’ve had a chance to win every game, which is either encouraging or devastating depending on how you look upon it. I choose optimism!

I still have questions about this team. They’re almost competing too much on defense, as they throw themselves into rotation at will with their scramble. Their wing depth — or lack thereof — creates awkward lineup situations. I still am not sure how to feel about the Davion Mitchell dynamic. I don’t love how their offense runs, even if it has good elements. I could (and will, at some point) fill a whole column with questions about the Kings.

For once, however, De’Aaron Fox is not a question for me, and I consider that the most important aspect of this season. It’s been just six games from him, as he’s out with a bone bruise right now, but this is without question the best he’s played in the NBA from an all around standpoint.

Fox is playing defense consistently, working to be a deterrent, and thriving. He can still overplay at times, overshooting because he’s just that much faster than you, but the effort has been unquestionable and he’s come up huge down the stretch multiple times this season. He’s not a negative, and that’s all I’ve been hoping for the past two seasons.

He also, by far, is the most efficient he’s been throughout his career. His true shooting of 63.9 percent is about seven percentage points above league average, which is gigantic for someone who is usually a league-average or so player in this regard.

His patience has improved. He’s finding more ability to seamlessly change gears on drives and blend his East/West guile with lightning quick speed on his first step of acceleration. You might look at the career-high turnover rate and be disappointed, but I watch Fox and see him making better decisions, cutting down on some of the rashness and unplanned drives and grenade passes. I would argue the turnovers are largely a product of playing good teams and small sample size. He still telegraphs some reads and the decisions aren’t always quick.

But the process is improved, and that matters greatly to me when looking at this early season stretch. I’ve really appreciated the way he’s started to gel with his rollers — can we get this man a lob threat, though?

Fox’s efficiency will likely not hold, because shooting 90 percent at the rim is a bit unsustainable! His touch on floaters and the shorter pull-ups that he likes to get to have been so good that you’re willing to let him get into that bag of tricks in the gray area. As a result, he’s shooting 59.5 percent in the paint outside the restricted area.

More importantly for the proliferation of his positive efficiency, he’s taking more catch-and-shoot threes than pull-ups for the first time since his rookie year. It can’t be put into words how big of a development this is if he keeps it up. Fox has been a fine-to-solid off-ball three-point shooter for much of his career, but has teetered on the precipice of damaging at times with how often he typically is shooting pull-up threes. That’s part of the game as a lead guard operating out of screens, but cutting down on the self-created shots and getting up what is currently a career-high rate on catch-and-shoots is immense. He’s not going to shoot over 50 percent on them for the rest of the season, but again, it’s great process.

The Fox and Damontas Sabonis pairing has intrigued, but also shows room for growth. The screening aspect has been essential for Fox, as the two work in tandem to screen and then quickly re-screen to catch defenders going under and open space for a drive. Their pick-and-roll game has been pretty good, but they’re still ironing out how to compliment one another.

Fox is arguably one of the bets rim threats and interior finishers in basketball, but is currently only taking 23 percent of his shots at the rim per Cleaning the Glass, which is a career low. He’s been fantastic within the confines of the system, which is why I’d like to see a tweak there from Mike Brown as the season goes on. I want to see the Kings lean more into Sabonis as a playmaking hub and elbow operator, getting the most out of Fox as a driver and movement threat while opening up the floor by utilizing Sabonis as a decision-maker.

They were aggressive in utilizing Sabonis as a DHO savant and Fox as an elite cutter and mover without having to worry about how he gets guarded in screens for a short time immediately after the trade last season. We haven’t really seen them go back to that since, and it feels like low-hanging fruit to get the most out of their two man game, and the entirety of the offense.

I still need to see a lot more from the Kings overall. But early on, it’s hard to be anything other than encouraged with what we’ve seen out of their star guard.

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What The Hell Is Going On At The 1975 Concerts?

It’s hard to keep up with The 1975’s antics lately. Singer Matty Healy‘s Twitter has been relentlessly unhinged (read: “if I wanted music ‘slowed down + reverb’ I’d just take some ket“). They’ve just released Being Funny In A Foreign Language, which contains lyrics like, “I think I’ve got a boner / But I can’t really tell.”

They just kicked off their At Their Very Best Tour last night and it was definitely an interesting experience. A video has gone viral depicting Healy smoking a cigarette while slouched on a couch, his hands… adventuring over his pants, to put it lightly. “rip to anyone going to this show with their parents,” the caption reads.

To be fair, The 1975 have always been a horny group, which many fans are pointing out (their debut has a song called “Sex,” so…). Another video catches Healy singing “Love It If We Made It” and dancing around so vehemently that he stumbles onto the ground.

He’s an impassioned performer! What else can be said? He’s definitely giving fans their money’s worth. It’ll be interesting to see how the rest of the shows on the tour go — especially at their Madison Square Garden concert, which will be livestreamed.

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This hilarious ad for a 1996 Honda is the perfect commentary on materialism.

This article originally appeared on 11.09.17

When Carrie Hollenbeck needed to sell her 1996 Honda Accord, with over 140,000 lifetime miles on it, having a filmmaker boyfriend paid off. Big time.

Max Lanman had the idea to produce an actual commercial to advertise his girlfriend’s jalopy. But this wouldn’t be some low-budget production for a 4 a.m. run on the local access cable channel. Oh no. Not at all.


“I thought it would be hilarious to make a high-end car commercial for a really junky car,” Lanman told ABC News. “And she had just the car.”

The ad begins like any high-gloss, self-important, sleek car commercial, with a deep-voiced narrator uttering some vaguely inspiring patter: “You, you’re different. You do things your way. That’s what makes you one of a kind.”

Cut to — instead of a luxury vehicle with a slick dash, leather interior, and impeccably dressed anonymous driver — Carrie’s old Honda, complete with coffee spills, random objects rolling around in the back, and one of those cassette things you use to play your iPod in a car without Bluetooth.

“You don’t do it for appearance. You do it because it works,” the narrator adds triumphantly.

Check out the finished product, which has gone viral with over 4 million views:

Lanman may have intended the piece to be more silly than satire, but the faux ad inadvertently makes an important point about the car buying experience in America.

As commonplace as the ads he’s lampooning are, the majority of Americans cannot afford a new car. Things are only getting worse — the average price of a new vehicle has skyrocketed 35% since the 1970s, while the median household income is only up about 3% for the same time period.

Cars have always been a status symbol, but somewhere along the line — between the time of horse-drawn carriages and the modern era of Matthew McConaughey selling Lincolns by falling backward into an infinity pool while wearing a tuxedo — cars have become an extreme symbol of status.

Car commercials would have you believe that cars are not something you buy because of how well they can get you from Point A to Point B, but because of how they made you feel and how they make you look to other people. For every person buying a $60,000 car that fits their “lifestyle,” (or to sit in their garage, barely touched) there are dozens more people buying a used junker on Craiglist or eBay because it’s all they can afford. And there’s nothing wrong with that.

Though it wasn’t intended to be, Max and Carrie’s viral ad is almost a digital middle finger to those who want the rich to get richer and income disparity to get worse. It reminds us to be proud of our ability to successfully live our own lives, even if it’s not always pristine or glamorous. This ad … is practical and real and … well, it’s all of us.

“Luxury is a state of mind,” the narrator bellows at the end. Finally, a car slogan everyday Americans can get behind.

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5 years ago, historians proved the time ‘when men were men’ never really existed

This article originally appeared on 11.20.17


Who decided “big boys don’t cry”?

It’s not rare to see powerful and high profile men overcome with emotion at times, but when they do, it’s usually met with some form of criticism or seen as a display of weakness. Simply put, in today’s world boys and men are simply not expected to display vulnerable emotions like sadness and grief. (But anger is usually A-OK!)

When we think of the founding pillars of “manliness,” we think of strength, bravery, and stoicism, and we often assume that it’s just always been that way. After all, ancient Greek warriors didn’t cry! Medieval knights didn’t cry! Men just don’t cry! It’s, like, biology or something! Right? Right?


Well, actually…

A couple of historians recently took to Reddit to debunk this myth once and for all.

A user named Sassenacho prompted the thread on the r/AskHistorians subreddit with a simple question: “Today, there are voices that call for (much needed) acceptance of men’s emotionality, but it is still kind of taboo. I was wondering when and why this changed in western society.”

The explanations that ensued were fascinating.

Cassidy Percoco, a curator and historian at the St. Lawrence County Historical Association and author of “Regency Women’s Dress” kicked things off, explaining that “masculinity and tears have not always been at odds.”

Those rough and tumble medieval knights with their shiny armor and big swords? Percoco says they were actually expected to weep on occasion.

“In the Middle Ages there was a trope of masculine weeping being a mark of religious devotion and knightly chivalry; by the sixteenth century it was well-established that a masculine man was supposed to have deep emotions and to show them — in some cases, through tears.”

It was a part of the whole chivalry thing and a sign of religious devotion.

As far back as Biblical times and in the age of Greek and Roman heroes, crying out of grief or sadness was just something men were expected to do.

From there, Percoco jumped forward to 17th and 18th century England. Hundreds and hundreds of years later, men crying and sharing their feelings — a gentlemanly trait known as “sensibility” — still hadn’t gone out of style.

“A gentleman was to be courteous to women and other men, to talk problems out, to keep from bursting into loud displays of anger or drunkenness. You might think that that would also put the kibosh on weeping — giving way to feelings of all sorts — but this was not the case. Another gentlemanly trait of the eighteenth century was sensibility, which today sounds like it ought to mean “rationality” but is actually being aware of and susceptible to one’s finer emotions.”

Alex Wetmore, assistant professor in the English department at University of the Fraser Valley, chimed in as well to explain that in the mid-to-late 1700s, popular fiction often celebrated male leads who cried “a lot”!

“People are often interested to hear that there was a period of time of a few decades (1740s to 1770s) where fiction devoted to men who cry (a lot!) was not only acceptable, but, in fact, tremendously popular and widely celebrated.”

Wetmore identified an archetype, which he calls “The Man of Feeling,” who appears in a ton of novels from that era. (Wetmore even wrote a bookon the subject.)

“When I try to explain this recurring character type to students, I usually describe him as like a comic book superhero … BUT with the notable exception that the ‘superpower’ of men of feeling is an ability to spontaneously shed copious amounts of tears.”

It’s quite the contrast to the unflinching action heroes we see today.

It wasn’t until the early 1800s that things began to change, and men started feeling the pressure to hold those tears in.

Percoco and Wetmore were both hesitant to prescribe a definite cause and effect relationship, but they do suspect the Industrial Revolution played a big part in turning the tide. (Reportedly, some factory managers actually trained workers, usually men, to suppress their emotions in order to keep productivity high.)

The age of the stoic and emotionless cowboy (a la John Wayne, who most people agree never cried in a movie) wasn’t far behind, followed by the gun-wielding “Die Hard”-ian action heroes of modern cinema.

But … while fictional macho men may have been suppressing their tears, the real men of the real world were doing the same thing they’d always done: wearing their hearts on their sleeves.

Photo by EMMANUEL DUNAND/AFP/Getty Images

For instance: General Ulysses S. Grant cried when the Civil War finally ended. President Eisenhower cried on the eve of D-Day. And baseball legend Lou Gehrig cried when the Yankees retired his number.

And, yet, since it took hold about 200 years ago, the expectation that “boys don’t cry” persists.

Today’s world is certainly not one that celebrates open displays of emotion from men, often to their detriment.

Research shows that these repressed feelings can often come out in unhealthy and harmful ways, and it’s all so we can meet a standard of masculinity that, likely, never truly existed.

Next time you catch someone bemoaning the “wussification of American boys” and yearning for a time “when men were men,” it might be worth asking them when, exactly, they think that was.

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People are dying over this kid’s emotional reaction to learning his sister is his half-sister

Pam has a little brother, who recently learned that he is actually her half-brother. Of course, half-siblings are still very much siblings, but Pam’s brother doesn’t quite grasp the concept yet and seems upset about having to part with 50% of his sister.

So when she came home recently, she found this letter he’d written. It will make you cry, so have off-brand tissues on hand:


OMG.

As if this letter isn’t enough to turn your heart into a soft pile of oatmeal, he also left her some of her (presumably) favorite snacks, like Chips Ahoy and Takis (excellent choices!).

Pam, being a human with a soul, was deeply moved and tweeted out a photo of her little brother’s letter:

It quickly went viral. And now the whole internet is now welling up with tears.

And others are sharing their own sibling stories:

These are so, so sweet.

Don’t say we didn’t warn you about the tissues.

Remember this next time you get into a fight with your sibling. Half or whole, doesn’t matter. Love/hate is love/hate!

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Miley Cyrus made Jimmy Kimmel squirm with her exposed skin then explained why that’s a problem

This article originally appeared on 08.27.15

Most late-night talk show guests show up wearing more than just a rainbow sequin cape. But they’re not Miley Cyrus.

It wasn’t just the sparkles that distracted Jimmy Kimmel when Miley stopped by his show on Aug. 26 ahead of her appearance as host of the 2015 MTV Video Music Awards.


All images via “Jimmy Kimmel Live.”


“You are almost naked,” Jimmy accurately observed before turning into the most stereotypical dad ever and asking Miley what her own father thinks of her general attire (or lack thereof).

Miley’s answer came in like a wrecking ball.

Miley goes on to make some awesome points about nudity and double standards (and make Jimmy even more uncomfortable).

Jimmy gets so awkward at the sight of Miley’s sideboob that the only thing he can do is keep commenting on it before (jokingly?) asking her to please cover up. But Miley can’t be tamed, and she uses the opportunity to talk about double standards and the unfair ways that society polices women’s bodies.

Miley Cyrus can’t stop, won’t stop — and at this rate, we don’t want her to.

We’ve already talked on Upworthy about the incredible things Miley is doing for homeless LGBTQ youth through her Happy Hippie Foundation and her other astute observations about censorship (plus all the crazycool collaborations she’s done with Flaming Lips).

Sure, there was that whole twerking thing, and she goes on to do some uncouth body shaming with Jimmy toward the end of video but still. She’s come a long way from her days as the Disney-star daughter of the guy who sang that “Achy Breaky Heart” song. While there’s still progress to be made, it’s nice to know that she’s using her rainbow-sequin-cape superpowers for good.

Watch the rest of the totally uncomfortable and delightfully inappropriate Jimmy Kimmel interview below: