Kanye West’s collaboration with The Gap, known as Yeezy Gap, is starting to see the light of day. Kanye signed a 10-year contract with the clothing brand in 2020 and in July, Yeezy Gap started hitting stores beginning with a Times Square pop-up shop. Sounds pretty awesome right? A sweet deal for Ye, right? Welp, think again. Earlier this week, Kanye West took to Instagram to express his disdain for Gap holding a meeting about the brand without him. Meanwhile, Young Thug, who has been on a recent social media rampage while in jail on federal RICO indictment, has offered Kanye some serious real estate for a Yeezy Gap store in his Slime City project if Ye so chooses.
For the uninitiated, Slime City is a 100-acre development in Atlanta planned by Young Thug and his business associates which was announced last year. Thugger said that he wants to build high-quality homes, a waterpark, a camping site, hold his annual Slime Fest there, and now, a Yeezy Gap. “Kanye West, I got over 100 acres,” Young Thug wrote on his Instagram stories. “However many you need they’re yours free of charge. On GOD.”
The hustle never stops. Free YSL and let’s make this happen.
Young Thug is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Over the past year, Jameela Jamil has made a couple of noteworthy contributions to the music industry. In November 2021, Jamil’s boyfriend James Blake shared a dramatic and impressive video for “Famous Last Words” and Jamil revealed later that she directed it. Now, she managed to get Megan Thee Stallion to guest star on a recent episode of She-Hulk: Attorney At Law (on which Jamil plays Titania). The episode of course spawned the twerk heard ’round the Marvel Cinematic Universe and Jamil is claiming the credit she’s due for it.
On Twitter yesterday (September 1), Jamil shared a couple of selfies of her and Meg on set together and wrote, “You’re all welcome! [heart emoji] I asked her to be in the show and she said YES! And She Hulk twerking with Thee Stallion history was made. And it was glorious. Amen. [crown emoji].”
You’re all welcome! I asked her to be in the show and she said YES! And She Hulk twerking with Thee Stallion history was made. And it was glorious. Amen. https://t.co/kEQH9oXIeEpic.twitter.com/c9Ro2RzLhR
She-Hulk head writer and executive producer Jessica Gao recently explained Jamil’s involvement in bringing Meg on board, saying, “We knew that for that story, we needed a famous, beautiful, successful woman… We were going through all the possibilities… but when it came down to it, Jameela knew Megan from working on [HBO Max’s] Legendary together, and she brought her up. We were like, ‘Don’t say it if it’s not really true! Don’t tease us with this!’”
While it was Jamil who got Meg on the show, the twerking scene actually stemmed from She-Hulk herself, Tatiana Maslany. Kat Coiro, the episode’s director, recently noted, “The dancing was actually added to the script on the day, because Tatiana was so excited. She’s the world’s biggest Megan Thee Stallion fan and we were like, ‘We’ve gotta give her something,’ so they threw together this dancing scene.”
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
SMU football kicks off its 2022 season Saturday on the road against North Texas at 6:30 pm local time. To celebrate their season opener, the Mustangs called upon the services of SMU alum and former football star, Eric Dickerson, for a fun piece of entertainment. Anything I say before you watch this video won’t do it justice, so I’ll avoid spoiling it and just let it speak for itself initially.
The gold Trans Am, “Pony Up” plate with “Mustangs” bordered around it and broadcast call of a Dickerson touchdown are a sensational combination. Then, it pans to Dickerson driving a new car, this one blue, with the engine revving. The lights and accent are red, an ode to SMU’s blue and red colors. The 23-second video is just really freaking cool. I have no clue how good SMU is supposed to be this season, but I’m confident the Mustangs are in line for double-digit wins now, based on that video alone.
Dickerson is an SMU icon. During his four seasons as a Mustang, he compiled 4,640 yards from scrimmage and 48 touchdowns across 44 games. He finished third in Heisman voting in 1982, and SMU went 21-1-1 over his final two years, ranking among the top five in the AP Poll by season’s end each time.
Throughout his 11-year NFL career, Dickerson made six Pro Bowl teams, five All-Pro appearances, won Offensive Rookie of the Year in 1983 and won Offensive Player of the Year in 1986. He’s now a member of the Hall of Fame. The dude’s a legend and SMU’s latest hype video only confirms that sentiment.
Every interview with Werner Herzog is a treat. In a discussion with IndieWire ahead of his 80th birthday (September 5th), the documentary filmmaker reflected on his age (“It sounds like statistics. I do not really relate it”), throwing away rare footage of Mick Jagger in 1980’s Fitzcarraldo (“Celluloid creates a lot of costs for storage and it has to be cooled down. That’s way too expensive”), and whether we should make a big fuss about volcanos (“We shouldn’t make a big fuss about it”). Take that, Fire of Love.
Herzog was also asked whether he would do more acting following his recent unmistakable performance on The Mandalorian, where he was turned into an action figure. “I’ve never volunteered for it,” he said. “I’ve always been dragged into it.” Now I’m imagining Baby Yoda literally dragging Herzog to set. It’s delightful.
He continued:
“Of course, the screenplays have to make sense, and it has to be a part where I feel comfortable. When it comes to the role of a real bad-ass bad guy, I know I can do it.”
Herzog also said that he’s “paid for spreading terror onscreen,” but in real life, “my wife, who has lived with me for 27 years, will testify convincingly that I’m a fluffy husband.” Never change, Herzog… which won’t be an issue considering he’s, again, turning 80.
She posted a screencap of her with a description on the bottom of the screen that reads, “Lunatic Country Music Person,” next to the Fox News logo. She captioned the picture, “#NewProfilePic.” She didn’t actually make it her Twitter avatar, though that would’ve made it even funnier.
Morris is open about her politics. Last year, she released “Better Than We Found It” and said she “wanted to write something to address exactly how I feel right now, and this came together pretty quickly.” She continued, “It’s a protest song — it’s the most American thing to protest and protest songs have been so embedded in American culture: Bob Dylan, Nina Simone. I think the world right now is sort of in a perpetual mourning period and I wanted to have a song that had weight but also had hope.”
Lil Baby season is here. After an active last few years where many have likened his run to that of late-2000s Lil Wayne and 2015 Future, the Quality Control artist is ready to unleash his third album, titled It’s Only Me.
In a Friday (September 2) Instagram post, the “Woah” artist shared the album art featuring his own version of Mount Rushmore. Similar to Drake’s lyrics on 2018’s “Survival,” Baby’s Rushmore shows four different iterations of the Atlanta rapper from his infancy until today. Beneath the cloud-adorned structure, he sits on a rock flanked by goats, a nod to his lyrics on Drake’s 2021 record “Wants & Needs” where he says, “I’m not the GOAT but I fit the description.”
His caption reads, “‘ It’s Only Me ‘ 10-14-22 I Kno Its Been Along Time Coming But I’m Coming Harder And Harder …… #worththewait,” which also references his early projects Harder Than Hard, 2 The Hard Way, Too Hard, Harder Than Ever, and his collaborative project with Gunna titled Drip Harder. While Baby is seemingly at the peak of his career, one can only wonder if the use of “Harder And Harder” means he is looking to revert back to his early stages but add a 2022 spin.
Check out the It’s Only Me album art above.
It’s Only Me is out 10/14 via Quality Control/UMG.
When Ramin Djwadai’s rousing, unmistakable Game of Thrones theme played as a trail of blood moves around during the House of the Dragon opening credits, I imagined what it would be like if Frasier used the Cheers theme song, but I simply cannot imagine how much sadder my life without the weird scrambled eggs jazz. The use of the Game of Thrones theme is likely, and hopefully not permanent. Perhaps it is a troll, or a manipulative attempt to activate nostalgia just in case anyone wasn’t feeling House of the Dragon yet. Despite using the same theme song for its opening credits, the second episode of House of the Dragon distinguishes itself from Game of Thrones. The second episode, “The Rogue Prince,” immediately explains its six-month time jump. It’s been half a year since the events of the first episode, and the audience gets to fill in the blanks: in the six months since Queen Aemma’s death, Prince Daemon has taken Dragonstone, King Viserys is struggling under pressure to find a new wife, and Rhaenyra doesn’t know how to connect with her father and learn how to rule Westeros.
This accelerated timeline differentiates House of the Dragon from its predecessor (again, despite having the same theme song). Game of Thrones was methodical with its storytelling in a different way: it followed characters so closely that we sometimes saw them use the bathroom, and established the scope of its world by depicting characters traveling from one place to another for an entire season, or longer. In season four of Game of Thrones, Arya and the Hound spend the entire season traveling to their destination of The Vale. In the first season, several episodes follow Ned Stark and Sansa Stark traveling to King’s Landing alongside Robert Baratheon and the Lannisters. Bran Stark, the greatest storyteller of all time, spent nearly the entire series traveling, a storyline that was so irrelevant that he did not even appear in an entire season. In its earlier seasons, Game of Thrones took its time, which made Westeros feel as grueling as it is. When the show accelerated the narrative in its later season, it was jarring and inconceivable. Game of Thrones betrayed the intimate pace that made it so good.
House of the Dragon won’t be making this mistake. Time jumps in television shows are not easy, but when executed well they serve the story, characters, and audience. Mad Men, The Americans, and Halt and Catch Fire, for example, used time jumps cleverly and with intention. Eliminating unnecessary parts of the characters lives moves the story forward, and the unknown can make characters even more interesting. It’s bold for a series like House of the Dragon with completely new characters to do a time jump in episode two. But it works, because we didn’t need to see those six months. We also know that we’ll see even more significant time jumps throughout the season, as young characters including Rhaenyra and Alicent Hightower will be played by older actors. The time jump also feels like a conscious decision to establish that this show is not Game of Thrones, and it suggests an awareness of the mistakes Game of Thrones made with its stark shift in pacing.
House of the Dragon also differentiates itself visually. In “The Rogue Prince,” the show introduces Dragonstone with sweeping shots of it. Prince Daemon and Otto Highwater face off on the footbridge at Dragonstone. It’s a cloudy day on the rocky beach, with a dramatic fog surrounding everyone and camouflaging the castle. But through the fog, the orange sun, far in the distance shines through it, giving a bit of ambient lighting. Rhaenyra shows up on dragonback, her silhouette on top of the creature like a shadow against the sky. The stylish scene gives the series a singular style that we never would have seen on Game of Thrones.
HBO
Along with its pacing, Game of Thrones also had a style shift in its later seasons. Its earlier seasons focused on world-building and performance and thusly were filmed in a more straightforward style reminiscent of period pieces of the 80s and 90s. In its earlier seasons, the lighting and shot composition are simple (though excellent in their simplicity). As the show got more popular it also got more stylish, using modern filmmaking techniques and more visual effects to capture its sprawling fantastical scope. House of the Dragon is showcasing its unique cinematic style instantly with this scene and with lots and lots of candles. Essentially, it relies on sources of light including candles and the sun, a reference to the Targaryen House words “fire and blood.” It’s a little on the nose, yes, but it’s working visually and thematically.
HBO
House of the Dragon knows exactly what it’s doing. In just two episodes, the prequel has separated itself from its predecessor (except for the theme song of course), indicating that it has learned from the mistakes Game of Thrones (or, more accurately, D.B. Weiss and David Benioff) made that sunk the cultural phenomena in its final stretch. Although coming from an established franchise and George R.R. Martin’s source material, House of the Dragon has a distinct style and confident storytelling, rather than a reliance on source material, which makes it feel like a television show that could exist without its predecessor rather than a desperate attempt to keep a franchise alive.
Cobra Kai‘s fifth season will arrive next week, and we’ll get to see (even more) former foes teaming up to take out karate mega-villain Terry Silver. He somehow manages to be much worse than John Kreese (who has shown that he has a soft spot, at least where Tory Nichols is concerned) because Terry’s got zero inkling of a soul. And from there, we’ll see if Daniel LaRusso, Johnny Lawrence, and Chozen (who needs no further introduction) can save the soul of the valley. That might be difficult, considering that Silver’s recruited several new senseis to help spread his slime.
What will happen after Season 5, though? Macchio and Zabka recently sat down with Comic Book to discuss where The Karate Kid is going as a franchise, and Macchio made it known that he is all for a full-on “cinematic universe,” so to speak. Via Comic Book, Macchio declared, “The thing that’s been created, there’s kind of this Karate Kid Cinematic Universe now where Cobra Kai is, you know, at the center of that and when that day does come in for a landing, there are other areas to draw from.”
What are those other prospects? Macchio hypothesized on the possibility of “a Miyagi origin story” or spinoffs about the various younger Cobra Kai characters, along with some sort of Cobra Kai prequel movie that occurs immediately before The Karate Kid. From there, the sky is the limit, and I have a few things that I wouldn’t mind seeing, including more about what Elisabeth Shue’s character has been doing for all these years (which would obviously not be karate focused, but that story’s wide open because Shue has been having a moment) or Jacob Bertrand’s Hawk opening his own dojo.
As far as a Season 6 goes, Macchio doesn’t drop news of a renewal yet, but Netflix likely will want to take the Cobra Kai train as long as possible.
In March 2021, Rhye’s Mike Milosh was accused of sexual assault and grooming by ex-wife Alexa Nikolas, an actress perhaps best known for her role on the Jamie Lynn Spears-led Nickelodeon series Zoey 101. Shortly after, Nikolas filed a lawsuit, accusing Milosh of sexual assault, grooming, and emotional distress. Now, Milosh is taking some legal action of his own: Rolling Stone reports the singer is suing Nikolas’ attorneys, accusing them of knowingly filing a “frivolous” lawsuit that “lacked any legal basis or factual support” regarding the assault allegations against Milosh.
Nikolas dropped the initial suit this past may but she told Rolling Stone she plans to re-file soon.
As for Milosh’s new suit, it says the allegations made against him “were, and still are, complete nonsense” and that the claims were “barred by a fully executed stipulated Judgment” both Milosh and Nikolas signed during divorce proceedings. The suit also notes, “Defendants knew about the Judgment and its preclusive effects. But that did not stop Defendants from filing the lawsuit, hiding the judgment from the Court, dragging Mr. Milosh’s name through the mud, and dismissing the lawsuit only after realizing that Mr. Milosh was not going to give in to their extortion.”
Milosh is asking for over $10 million in damages, suing the law firms Greenberg Gross and Gibbs Law along with the attorneys from the firms who represented Nikolas in her suit. Alan Greenberg, managing partner of Greenberg Gross, told Rolling Stone in a statement, “Milosh’s case is completely baseless and will be thrown out of court in short order.”
As Republicans continue to freak out over Joe Biden’s speech in Philadelphia where he specifically called out “MAGA forces” as a threat to democracy, Marjorie Taylor Greene took things to a whole other level by tweeting out a video of Biden as Hitler. Using footage from Thursday’s night speech with its red backdrop that suddenly has right-wingers concerned with Nazi imagery, Greene shared the doctored video, which still remains active despite Twitter flagging it for having “potentially sensitive content.”
The video shows an actor resembling the president except with a Hitler-esque patch of facial hair below his nose, standing in front of a photoshopped background from Biden’s speech with swastikas added. The audio seems to be a clip from one of Hitler’s speeches, although that has not been verified. (Your friendly neighborhood Mediaite contributing editor does not wish to spend my Friday morning listening to hours of that hateful oratory in order to precisely identify the clip but the voice certainly sounds like Hitler and the content, best I can translate with the poor audio quality, does match his usual topics.)
Not content with just posting the doctored video, Greene wrote the following in the caption: “What we all saw tonight from Biden. I guess when President Butterbeans is frail, weak, and dementia ridden, the Hitler imagery was their attempt to make him look ‘tough’ while he declares war on half of America as enemies of the state. Or it’s real.”
To the surprise of no one, the Biden video originated from an anti-vaxxer Twitter account who loves “offensive” “humor.” (Did both those words require sarcastic quotes? Yes.)
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I asked her to be in the show and she said YES! And She Hulk twerking with Thee Stallion history was made. And it was glorious. Amen. 
she/her (@jameelajamil) 
