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From his days as one of America’s most celebrated athletes to his current reinvention as God-loving senatorial wannabe, Herschel Walker has been called many things: Hero. Legendary. Dad. Dad? Dad?! Dad?! One adjective you’ve probably never heard, however, is “coherent” (unless it was in the context of the word “incoherent”). While Walker may have a tendency to go off on bizarre tangents that would even have Donald Trump confused, Trevor Noah thinks the Heisman Trophy-winner deserves a place in the history books for his political speeches. Specifically, the one he gave the other day — which may or may not have been about Fright Night.

From what we can make out of the speech, Walker “was watching a movie called Fright Night, Freak Night, some kind of a night” that was about vampires. And one thing he learned from it was that “a werewolf can kill a vampire,” which really blew his mind (the same one that once doubled as a tackling dummy). “Did you know that?!,” Walker wanted to know, perhaps not realizing that both are mythical creatures. “I never knew that, so I didn’t want to be a vampire anymore, I wanted to be a werewolf,” he stated, making it clear that, yep, he definitely thinks vampires and werewolves are real.

Somehow, this random thought ended up morphing into a parable about faith. Though how he got there? Who the f**k knows! But Noah was clearly impressed:

Step aside, Gettysburg Address! America has the new greatest speech of all time! ‘Cause you tell me the last time you heard a speech about vampires, werewolves, faith, politics, AND garlic!

And I don’t know if Herschel Walker should be a U.S. senator, but he should definitely be elected as America’s official movie reviewer. Did you hear that? I want to watch that movie! I don’t even know what it was. He should do this for every movie!

You can watch the full clip — including that history-making speech/movie review — above, beginning at the 4:10 mark.

Millie Bobby Brown became famous at an improbably young age. It’s why she wants to play Britney Spears, who also appeared on magazine covers when she was a teenager, in a biopic. Thankfully, the Emmy nominee has adjusted to her celebrity better than many child actors; it helps that she had the support of her older Stranger Things co-stars, like David Harbour, Winona Ryder, and Matthew Modine.

“Over the course of my career, the young actors and actresses whose lives were destroyed by that kind of fame and money and everything. It can be very destructive and disorienting,” Modine, who plays “Papa” on the Netflix series, said on The Jonathan Ross Show. “I just wanted to do everything I could to make sure she was safe and she understood that a career is a roller coaster, that there’s ups and downs to it.”

Stranger Things co-creator Ross Duffer previously told Harper’s Bazaar how Ryder helped her young co-stars adjust to fame, especially Bobby Brown. “She’s talked to the kids about what celebrity is like and how the press can be and the anxiety and confusion that comes along with celebrity,” he said. “I think she’s really helped them. I know she’s specifically helped Millie a lot to work through that. And that’s something that no one else can help with, really, because so few people have experienced it. It’s not something I understand. It’s not something that, you know, even a parent would understand.”

Stranger Things will return for its fifth and final season in 2024 (hopefully).

(Via Insider)

Live Life Fast Always leave them wanting more. That’s what Roddy Ricch did Wednesday night (November 11) at the finale of his and Post Malone’s Twelve Carat Toothache Tour at the Crypto.com arena (formerly and always Staples Center to the locals) in Los Angeles. His impressive set illustrated the effectiveness of simplicity, highlighted the breadth of his talents, and proved that he’s more than ready to be headlining arenas on his own.

The Compton rapper’s set was so ruthlessly efficient in touching on his biggest hits that it seemed the hour of material he did perform was not enough. Although he hit the mainstays – “The Box,” “Die Young,” “Ballin’,” and “Racks In The Middle” – it felt like he could have done at least 30 more minutes before the audience was satisfied. Indeed, with a brand-new project releasing just days later, it would have been an opportune moment to preview a few new songs.

Even without those, there were albums worth of material he didn’t perform, which is in itself more than enough reason to extend his set, even if he did show up late, joking that he drove “110 [mph] on the 110 [freeway]” to make it. Tapping his two albums, Please Excuse Me for Being Antisocial and Live Life Fast, as well as both Feed Tha Streets mixtapes (not to mention his slew of features), he could easily pull together a set every bit as dynamic as the one he did.

There’s something to be said for the sort of curation he did for this set, though. His instincts, honed through his early study under the mentorship of industry vets like Meek Mill and Nipsey Hussle, serve him well on stage – not a movement is wasted, and he engages with the crowd like a champ. He also knows how and when to turn up and blow out the restrained production to accentuate what he’s doing rather than distract from it.

While it’s just him and the microphone for the most part, when he does add to the staging, it’s an impressive embellishment, not a meaningless accouterment. When he performed “Late At Night” as a gentle piano ballad, he played the piano (a magnificent baby grand that seemed to simply materialize from nowhere on the stage) himself. Likewise, a prodigious choir joined him for the gospel-tinged “War Baby,” while “Die Young” was accompanied by a video tribute to hip-hop’s fallen heroes – including the most recent addition to those rolls, Takeoff.

While watching Roddy, I was reminded of the other concerts I’ve seen at Staples (again, now and forever) in the past year, particularly the openers for Tyler The Creator, and Kendrick Lamar’s headlining set. I remembered being somewhat disappointed with the stripped-down staging for performers like Vince Staples and Baby Keem, who didn’t make as much use of the arena space as I might have hoped (it worked for Staples, who at least gave a compelling and visible performance from a mid-floor platform that lit up).

K. Dot’s arena show was especially underwhelming because of all the unnecessary props and messy narrative building that felt more confusing than awe-inspiring. Roddy, on the other hand, weaponized those expectations as well as utilizing the space, punching things up just when I started to get bored with his relatively low-key performance style. He didn’t play up the props too much, but the accessories grew from the music itself which made them feel necessary and of piece with everything else.

I will say that the surprise guests felt… weird. YG popped out to perform a verse from his song “Big Bank,” and Wiz Khalifa showed up to rap a bit of “Young, Wild, And Free,” but these appearances felt only loosely connected to Roddy himself (like Roddy, YG hails from Compton, but Wiz is merely a good industry friend). Neither has music with him – yet – so there was nothing to tie them into what was already happening onstage. But if that’s my only quibble, it’s a minor one and it was fun to see the effect Wiz had on the very bro-y, millennial crowd anyway.

None of this focus on Roddy is to say that Post Malone is a slouch, though. Everything from set design to lighting, with flying circular rigs that nodded to his admitted fascination with UFOs, accentuated his own relatively straightforward approach. His voice sounds great live, he’s a magnanimous, grateful, charming presence on stage, and his dance moves are genuinely hilarious (I had no idea he was so zesty). Post’s show felt like a hangout with a friend, and by the time I left, I definitely wanted to continue hanging out.

But Roddy I wanted to watch. By the time he strolled off the stage – after playing “Ballin’” rather than “The Box,” which seems an odd choice, but I get it if he’s tired of that one after all this time – I wanted nothing more than for him to come back and do an encore. After all, there were still so many songs of his left to perform (he did return to the stage to perform “Cooped Up” with Post) and he’s proven that it’s worth the extra time.

Roddy Ricch is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Atlanta’s Rich Home Quan has come a long way since the commercial success of his 2013 single “Type of Way,” 2015’s “Flex,” and his effort on Rich Gang’s 2014 single “Lifestyle.” We can’t forget that Quan’s debut album Rich As In Spirit debuted at No. 32 on the US Billboard 200, stamping him as a force to be reckoned with out of ATL.

Jumping forward almost ten years since his debut, his 2022 EP Family & Mula made waves on streaming services with lead singles like “Krazy” and “Risk Takers,” amassing over 15M streams. Today, he brings his track “Spin” to the bathroom set, backed by a soulful beat and assisted by Quan’s energetic ad-libs. It’s safe to say the performance is lively, as the Atlanta rapper’s delivery is animated, even sipping on a cup of tea during the Sessions. Between his high-energy and thorough delivery, Rich Homie Quan still got it.

Watch Rich Homie Quan perform “Spin” for UPROXX Sessions above.

UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.

While R. Kelly languishes in prison preparing to appeal his conviction for a variety of sex crimes, the men and women who helped him get away with those crimes for over two decades are facing consequences of their own. According to Rolling Stone, Donnell Russell, who describes himself as Kelly’s manager, was sentenced to 20 months in prison in a hearing on Thursday, November 17 for stalking and harassing one of the singer’s victims in an effort to get her to change her testimony against him.

Russell had previously pled guilty to those charges in July, after also being convicted of making terroristic threats against a screening of Lifetime’s Surviving R. Kelly series. According to the Department of Justice, Russell sent emails and text messages and made phone calls threatening the anonymous victim with explicit photos of her unless she withdrew her complaint against R. Kelly. “Pull the plug or you will be exposed,” he wrote in one text. He later posted those photos on a Facebook page as Surviving R. Kelly aired.

Meanwhile, another associate of R. Kelly, Michael Williams, was sentenced last year to eight years in prison for arson and witness intimidation after setting another woman’s car on fire. Kelly himself was found guilty on charges of child porn in a second trial in Chicago after previously being convicted of sex trafficking in New York last year.

John Slattery recently reunited with his Mad Men co-star and name twin Jon Hamm for the charming crime/comedy film Confess Fletch, but it seems like he had been holding a grudge against Hamm for quite some time.

Slattery admitted that he has initially auditioned for the rold of of the very dapper Don Draper, so he was a little hurt when he didn’t get the part. He went on to play Roger Sterling, a sly womanizer (and heavy drinker) who later became Draper’s firm partner.

Despite wanting to live that Draper lifetstyle, Slattery said that as soon as he saw Hamm as the suave main character, he knew that they made the right choice. “[Jon Hamm] claims I was in a bad mood the whole time we shot the first episode because of this, but I don’t think that’s true,” Slattery told The Independent in a new interview. “Eventually I saw him, and I was like, ‘Oh — they sure do have that guy.’” Not only did they have the guy, but he was often leaving fellow cast and crew speechless due to his charming personality and uh, above average looks.

Slattery explained that Hamm was often distracting people by being the most handsome guy in the room. “When Hamm walked into a room in that get-up, people would just go catatonic. Guest stars would sometimes walk up to him and their lines would go right out of their heads. They just wouldn’t know what to do. It happened on more than one occasion.”

Of course, Hamm is nothing compared to Christina Hendricks, who played the incomparable Joan Harris in the hit series. “Christina Hendricks would walk into the room and people would sh*t themselves,” Slattery added. “It was amazing.” Maybe that’s why Colin Hanks was in so few episodes? He just couldn’t handle it.

(Via IndieWire)

Nicki Minaj parties in the desert with Colombian superstar Maluma in their music video for “Tukoh Taka” that was released today (November 18). Their official FIFA World Cup anthem also features Lebanese singer Myriam Fares.

“Tukoh Taka” will serve as FIFA’s Fan Festival anthem this year. The special collaboration marks the first time that a FIFA anthem is sung in English, Spanish, and Arabic. Minaj not only raps in English but a bit in Spanish as well. She previously rapped in Spanish on Karol G’s song “Tusa.” Maluma proudly sings in Spanish and Fares sings in Arabic.

“I am so happy to be part of this FIFA World Cup anthem!” Maluma said in a statement. “I always dreamt of an opportunity like this. Representing Latin music on this global track alongside amazing artists that sing in English and Arabic, takes our culture to another level.”

In the video for “Tukoh Taka,” Minaj, Maluma, and Fares celebrate their love for soccer while partying throughout the desert. Maluma and Myriam Fares will perform the global dance track together live for the first time at the opening of Doha’s FIFA Fan Festival on November 19. The song will also be included on the FIFA World Cup Qatar 2022 official soundtrack.

It looks like all of the unconventional forms of promotion for Drake’s new album — a parody SNL performance, a spoof Howard Stern interview, a fake Vogue cover, a phony NPR Tiny Desk — were worth it. Drake and 21 Savage’s highly anticipated Her Loss debuted at No. 1 and ended Taylor Swift’s unprecedented reign. But they didn’t stop there.

Her Loss landed at No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart, which is 21’s third time there and Drake’s 14th. This makes Drake tied with Jay-Z for most No. 1s on that chart. Who will be the one to reach 15?

Though a few rappers have been pushing back their albums due to the tragic death of Migos member Takeoff, 21 Savage explained why he and Drake didn’t in a recent interview with DJ Akademiks. “It was just so much going on, so much negative, sad energy,” he said. “We was just like, ‘Maybe this will give motherf*ckers a smile or a lift-up, give the world a lift-up, something to look forward to. Cause at first we was saying we was gonna push it back, but it was like, ‘Well, sh*t. What’s that gonna do? Just keep motherf*ckers in this mind-state for a little longer?’ Versus trying to move forward.”

Enchanted delivered a standout performance from an up-and-coming star named Amy Adams, and it ended up on endless repeat in many families’ living rooms. The young actress proved she had a knack for carrying entire films on her shoulders and her pluckiness as Gisele, a cartoon princess who gets pulled into the real world made Enchanted a cult classic. For years, fans have demanded a sequel, and thanks to the need of non-stop streaming content, Disney finally delivered in the form of Disenchanted.

Unfortunately, the end product is not looking so great. While the first batch of reviews praise Adams for slipping back into the role of Gisele (and there’s lots of love for Maya Rudolph) the sequel just can’t hold a candle to the original. Also, it doesn’t help that it has way too many songs. The endless parade of musical numbers is not going over well.

You can see what the critics are saying about Disenchanted below:

Lovia Gyarkye, THR:

Enchanted’s success came from an alchemic combination of strong performances (especially from Adams), a chaotic location and a commitment to basic moral lessons (the magic of true love) even while slyly upending fairy-tale tropes. Disenchanted … aims for the deft mix of slapstick comedy and poignant messaging of the original, but struggles to find its footing, resulting in a film as vanilla as its setting.

Amelia Emberwing, IGN:

Ultimately, Disenchanted plays out as a different but still pretty wonderful continuation to Enchanted. However, some fans might feel a little robbed that instead of growing with its original audience it chose to trill a cheery tune for a new one. Still, those who remember the magic will still see a lot of it in this new iteration, even if the new soundtrack does leave you wanting.

Benjamin Lee, The Guardian:

The songs are all aggressively, at times embarrassingly, mediocre. There’s a brassy attempt to get a returning Idina Menzel to deliver a Frozen-esque number about the power of love but as with most of the songs, lyrics are so slapdash that one wonders if it was improvised. The only song that draws our attention is a dueling duet between Adams and Rudolph, bringing a much needed sharpness to some of the heavily ladeled sentiment and like many of the film’s best moments, relies heavily on Rudolph’s ability to turn a brief expression into a joke in itself. She’s the film’s ace.

Owen Gleiberman, Variety:

Obvious in its comedy, at once overblown and undernourished in its fantasy, “Disenchanted,” at times, is like a kiddified “Don’t Worry Darling” crossed with “Cinderella Strikes Back.” At others, it’s a light show in search of a movie. The visual effects are all swirling sparkles and sprouting vines, but the real problem is that the film has a pandering impersonality, along with the busy skewed logic of a metaverse.

Courtney Howard, The A.V. Club:

Disenchanted serves as a reminder to “be careful what you wish for” — on many different levels. Shot and assembled more like a Disney Channel Original rather than a spectacle-driven sequel to an Oscar-nominated blockbuster, Shankman’s film leaves audiences wanting more—and not in a good way. Its lack of legitimate wit, cleverness, and focus makes a promising concept feel like a wasted wish, conjuring little of the magic that made its predecessor feel so memorable.

Marya E. Gates, RogerEbert.com:

While the script is heavy on action, it’s incredibly light on any kind of real characterization. Malvina is a stock suburban queen bee, with Rudolph responding by playing her less as a wholly realized character than as Evil Maya Rudolph. Adams has fun with Giselle’s descent, altering her sweet lilt to a deep poison tongue. The two get a few showdowns, and one zippy duet entitled “Badder,” but the tension is nowhere near as delicious as what Adams crafted with Susan Sarandon’s big bad in the first film.

Ross Bonaime, Collider:

Disenchanted ends up feeling like those direct-to-video sequels of the 90s and 2000s, films that featured characters you enjoyed in better films going through the motions in a film that lacks any of the wonder of the original. Disney knows that audiences will gladly turn on Disney+ in the comfort of their own homes to watch these characters again, regardless of the quality of the project, and once again, the nostalgia merry-go-round keeps going with no signs of stopping.

Johnny Olenksinski, New York Post:

Is it pure nostalgic bliss seeing Adams back in her star-making royal role? Not really. Her, Dempsey, Marsden and Menzel all feel a tad long in the tooth for this story. After all, these are glittering princesses and princesses — not the 300-year-old witches of “Hocus Pocus.”

Disenchanted is now available for streaming on Disney+.

Lil Uzi Vert’s take on Jersey club, “Just Wanna Rock,” now has a rowdy video that captures the song’s infectious, boisterous energy. In it, Uzi and their crew take over the dance floor, showing off their moves, before bursting out into the streets around the venue to keep the party going. When the police show up to deal with the crowd, nothing they do can diminish the rebellious vibe, as Uzi climbs into their truck and makes an escape.

“Just Wanna Rock” is presumably the first single from the Philadelphia rapper’s long-awaited album, The Pink Tape, which they’ve been teasing since the release of their last album, Eternal Atake, in 2020. While the non-binary rapper has yet to announce a release date for the project, they did announce their first tour in three years last month, leading to speculation that the album is coming sooner rather than later. Waiting around while release dates change like the tides is no new experience to Lil Uzi Vert fans, who dealt with multiple delays for Eternal Atake as well. Fortunately for them, Uzi did release the Red & White EP to hold them over, while “Just Wanna Rock” is a promising sign that an announcement is possibly coming soon.

Watch Lil Uzi Vert’s “Just Wanna Rock” video above.

Lil Uzi Vert is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.