The WNBA announced on Friday morning that this year’s All-WNBA teams will be selected independent of position. That means if five guards, forwards, or centers prove to be deserving of every spot on each team, the voters could make it as such. This is an excellent decision from the league — players of all archetypes, positions, and sizes are anchoring either side of the ball. Positions defined by stature should not inform or inhibit who is eligible to make all-league teams.
Kudos to the WNBA for nailing this decision. The hope is that it continues moving forward and that the NBA soon follows suit, as quickly as the 2022-23 season. I understand the argument and belief All-NBA teams should line up logically. Two guards, two wings, a center, that’s a traditional lineup structure. But my push back comes from the fact these teams are never actually taking the court in a meaningful basketball game. We need to eradicate antiquated positional requirements.
All-NBA and All-WNBA teams should be an insightful snapshot into each season. Recognizing the five, 10, and 15 best players outright rather than the best at specific positions is how you enable these teams to be the most insightful seasonal snapshot possible.
This topic has especially held premium standing in the lexicon over the last two NBA seasons, as Nikola Jokic and Joel Embiid, a pair of centers, have finished first and second in MVP voting during that span. Jokic is the back-to-back winner; Embiid is the back-to-back runner-up. Jokic owns two All-NBA First Team appearances; Embiid, generating the vast majority of his All-NBA buzz at center, carries zero.
Embiid’s misfortune is not the first time an MVP finalist has been squeezed by rigid All-NBA criteria. In 1974, Bob McAdoo finished second in MVP voting and made All-NBA Second Team. The third-place finisher, Bob Lanier, and fourth-place finisher, Dave Cowens, didn’t earn a spot on either of the two All-NBA Teams (a third has since been added).
In 1974, Bob Lanier finished 3rd in MVP voting and didn’t make an All-NBA team.
MVP runner up Bob McAdoo landed on the 2nd team.
(There were only 2 teams back then, so the 4th-place finisher Dave Cowens also missed out on All-NBA.) https://t.co/uo7ydOjqTV
Those occurrences are equally as absurd as Embiid’s recent situations. This dilemma should not happen or exist! If you put together a dominant enough season to be an MVP candidate, let alone the runner-up, you should be a First Team member that year. There is no way around it, and the WNBA deserves credit for rewarding excellence like this. Given the contract incentives tied to some of these honors in the NBA — which is a faulty stipulation as is — broadening the flexibility of the voting process and ensuring the best of the best are on their deserving teams is paramount.
The NBA has aimed to avoid these developments the past two years, granting Embiid and Jokic eligibility at forward. But those are tepid amendments when they have to garner enough votes at forward to make the team as one. It is not total votes that you earn you a spot, it’s votes at a specific position of guard, forward or center. Many media members are rather stringent in their criteria, which is an issue itself, and will not tab Embiid or Jokic as a forward, rendering the alteration ineffective altogether.
Basketball is constantly and rapidly evolving. The limits size, athletic gifts, and other factors impose on the role and style players can adhere to are routinely being shattered. The reigning NBA MVP is a center, its reigning Defensive Player of the Year is a guard. Arguably, the NBA’s three premier offensive players are a ground-bound, 6’11 big man; a jittery, 6’2 guard; and a wily, 6’7 wing who win in contrasting manners. Jokic, Embiid, and Giannis were the MVP finalists this past spring. They all wield distinct signatures.
Some teams thrive with small-ball, others thrive with tall ball — look at the 2022 NBA Finals! Some are spearheaded offensively by giants, others by ball-handlers I could look in the eye without standing on my tiptoes. Superstars and the sport itself are wildly multidimensional. The WNBA has gotten it right, and it’s long past time All-NBA teams better reflected and celebrated the game’s eclectic nature.
Champagne gets talked about a lot around the holidays — New Year’s Eve especially — and then sort of drops off the radar for a lot of folks. Not us. Around these parts, it’s always champagne time. Seriously, you should have a bottle of champers in the fridge year-round ready to be popped at any time. Especially during the dog days of summer, as champagne is the ultimate thirst-quenching summer refresher.
Today, I’m calling out ten bottles I like to keep on ice this time of year. But before we dive in, some context — champagne is a sparkling wine from the Champagne region of France. And since real champagne is an appellation product (legally tied to a region), there are some serious rules that make the sparking wine “champagne.” Very generally, the grapes have to be either Pinot Noir, Chardonnay, or Pinot Meunier grapes. After barrel aging, the juice needs to age in a cellar for a year and a half (at least) of secondary fermentation in the bottle with more yeast and rock sugar added. During that time, the bottles need to be “riddled” or rotated daily to help the wine mature properly.
Naturally, there are bazillion other minutiae level rules that apply. But that’s a good start for now.
For this ranking, I’m simply going on taste. And, look, I’m a Bollinger ride-or-die fella. I have a bottle of their Brut and Rose in my fridge pretty much 365. I guess that’s a bit of a spoiler alert for later. That said, I enjoy a lot of champagne in between my everyday pours for a lot of different reasons (from making cocktails to breaking the monotony of sipping whiskey over and over). So let’s dive right in and find you a great bottle of champagne for some late summer sipping!
Also Read: The Top Five Cocktail Recipes of the Last Six Months
The Mumms (a German wine-making family from the Rhine) moved their whole operation and family to Champagne to make this now iconic sparkling wine back in the early 1800s. Today, Mumm Grand Cordon sources around 100 crus from the Pinot Noir, Chardonnay, and Meunier fields around Champagne, France. Those wines are mellowed in large oak vats until they reach just the right point of aromatics and texture.
Tasting Notes:
The nose on this one is like walking through a peach and apricot orchard on a warm summer day with hints of vanilla, dried yeast, and a little fresh honey. On the palate, stone fruit dries out a bit as a tart and an almost creamy sense of pineapple drive the taste towards a fruit salad vibe. The finish is fruity, slightly dry, and bright.
Bottom Line:
This is the ultimate entry-point champagne for anyone looking to dip a toe in. The juice is very baseline with a good dose of fruitiness that helps this shine as a summer sipper. It’s fresh and bright and very easy-going.
This expression from the massive Veuve Clicquot line is all about the soft and sweet summer vibes. The juice is inspired by the Russian court’s love of sweeter champagne and was crafted with the help of the world’s top bartenders. The wine is created by blending 45 percent Pinot Noir, 40 percent Meunier, and 15 percent Chardonnay with a dose of rock sugar when bottling.
Tasting Notes:
That sugar rises to the top of the nose and dampens the drier yeasty edge, allowing the brioche and apricot jam to shine through. The palate leans into a lemon meringue pie with rich citrus curd, plenty of creamy vanilla, and a hint of butter with a whisper of clove. The finish is sweet and creamy with a faint echo of white wildflowers and white pepper.
Bottom Line:
This is devised for refreshing champagne cocktails. Pour it over ice and add in a bit of grapefruit oil, hibiscus, or even Earl Grey. It’s the perfect summer cocktail.
Nicolas Feuillatte Rose is a summertime classic with deep roots in the Champagne region’s cooperative of winemakers. This is also a fairly new brand (relatively), dating back to the 1970s only. The juice in the bottle is made from 45 percent Pinto Noir, 45 percent Meunier, and a scant ten percent Chardonnay wines.
Tasting Notes:
This is a berry bomb from the nose to the finish with ripe raspberry brambles mingling with tart black currants, woody huckleberries, and soft strawberries on the nose and on the palate. The palate does build out further towards a dry hay vibe with a hint of apple stems and creamed butter (but it’s super faint). The end boils everything down to a red berry jam with a nice balance of tart, sweet, and dry that’s a little light-handed.
Bottom Line:
This is the perfect berry-forward champers for summer. This is the epitome of a backyard sipper. It’s a little light on the finish and kind of just fades away but that’s being really nit-picky.
Pol Roger goes back to the mid-1800s (like so many on this list). The wine was so beloved that it received a “royal warrant” to become the official champagne of the court of the Austro-Hungarian Empire. That tradition carries on today as it now has the “royal warrant” for the British Crown, in large part thanks to Winston Churchill insisting that he only drank this champagne for decades.
Translation: It’s really good stuff.
Tasting Notes:
The champagne draws you in with this medley for bright wildflowers next to a brioche folded with stewed apple and a touch of vanilla and jasmine. The palate revels in apricot jam, stewed plums, and more vanilla before a bright and slightly burnt orange oil arrives with hints of figs, anise, and beeswax candle wicks.
Bottom Line:
There is a little deeper/heavier vibe to the flavor profile, I love using this one for cocktails. That said, I love this ice-cold on a hot day too. It’s a versatile and refreshing pour, is what I’m getting at.
Louis Roederer is one of the oldest Champagne houses that also happens to be one of the few fully independent shingles. The wine really made a name as the champagne of the Russian Royal Court pre-revolution. As those royals ran for their lives in the early 20th century, they spread the love of Louis Roederer to Paris, London, New York, and Shanghai, helping make the wine a truly international brand.
Tasting Notes:
There’s a real sense of an orchard full of stone fruits next to lightly roasted nuts with a hint of a warm croissant on the nose. That butter and yeasty bready fades as ripe apricot and gooseberries counterpoint a deep dryness and light bubbles. There’s very little sweetness at play as a touch of oaky vanilla pops on the very end to counter the dry yeast notes.
Bottom Line:
This is crisp, crisp, crisp. It’s also a favorite order of mine when sitting outside my favorite bar on a hot summer day. A bottle of this with friends as the sun sets is sublime.
Perrier-Jouët (pronounced with a soft “et” at the end) is a classic wine house that dates back to the early 1800s. The wine has a storied history of royalty and British Prime Ministers loving the wine over the years — like so many wines on this list. The juice in the bottle is 20 percent Chardonnay with 40 percent each Pinot Noir and Meunier.
Tasting Notes:
That Chardonnay really comes through on the nose with a rush of buttery brioche next to apple blossoms and fresh honeycombs with a hint of pineapple upside-down cake with plenty of real vanilla in the mix. The palate lets the butter from the brioche create an extra creamy mouthfeel as apricot jam on scones mingle with wildflowers and orange-laced honey. The end is crisp and full of citrus-laced creamy butter.
Bottom Line:
This will transport you to an orchard on a sunny day with a beautiful piece of cake in front of you as your lounge under a shady fruit tree. It’s refreshingly light yet deep with a brightness that’s hard to deny.
Lallier dates back to 1906 and has since become the heart of Aÿ — a village in Champagne that has been designated a Grand Cru region in part thanks to this wine. The sparkling wine in the bottle is a 2016 vintage containing 44 percent Chardonnay, and 56 percent Pinot Noir.
Tasting Notes:
White peach and yellow pears lead the way on the nose with support from almost creamy hazelnuts and almonds with a hint of clove and orange and this very distant echo of sweet balsamic. The palate is lush with stewed plums and creamy caramel just touched by vanilla and orange oils. The end is soft and carries a hint of limestone and maybe even wet slate countering the ripe peaches and pears laying in green grass after falling from the tree.
Bottom Line:
This is special stuff. There’s a deeply rooted sense of the terroir (ground, place, plant) in the sip that’s never overpowering but just … there.
Moët & Chandon (also pronounced with a soft “et”) is iconic. The wine goes back to 1743 and the court of Louis XV and remains one of the most popular and largest producing winemakers to this day. The wine in their Rosé Impérial is around 40 to 50 percent Pinot Noir, 30 to 40 percent Meunier, and ten to 20 percent Chardonnay with 20 to 30 percent of the blend coming from reserve wines.
Tasting Notes:
Bing cherries, white strawberries, red currants, and a twinge of gooseberry lead the way on the nose. The palate adds in some peaches and cream with a flake of salt as a hint of pepper lurks in the background. The end really leans into the brightness of the fresh red berries with a nice balance of tart, sweet, and lush as a final note of fresh mint sneaks in.
Bottom Line:
This is incredibly well-rounded and then goes a little past just being a fruit bomb thanks to that mint and spice. And it’s those notes that make this a great summer sipper with real complexity — hence, its ranking in the top three.
Billecart-Salmon is a mid-sized, family-owned Champagne house that dates back to 1818. Since then, Billecart-Salmon has become one of the most respected and awarded champagnes on the market. This expression is made from 40 percent Pinot Meunier, 30 percent Pinot Noir, and 30 percent Chardonnay and includes up to 60 percent reserve wines in the blend.
Tasting Notes:
This is all about the balance on the nose and palate with an opening full of soft notes of scones, creamed butter, apricot jam, raspberry jam, and fresh floral honey. The palate is all about green pears with a bite to them next to green apple skins, a dash of buttery vanilla, and a hint of allspice (and maybe some nutmeg). The end leans into the floral side of the honey with more bright and ripe pears and peaches popping on the finish.
Bottom Line:
This is bright but soft. It’s super easy drinking and feels like summertime in a glass. The spice notes are a little more nuanced than the last entry but not overpowering in any way. This is just a good sip of champagne.
Bollinger is the other champagne from Aÿ that helped the region become so revered. It’s also one of the most celebrated wines in the world from royal courts to the pages of James Bond adventures. The juice in this bottle is hewn from 62 percent Pinot Noir, 24 percent Chardonnay, and a mere 14 percent Meunier with over 85 percent of the wines coming from Grand crus and reserves. The achieve the faint rose color, about five percent red wine is added. Lastly, this wine is aged twice as long as the average champagne in general and every other one on this list.
Tasting Notes:
There’s a distinct subtly at play that’s damn near divine as notes of wild strawberry mingle with mild woody and savory salal berries, sour cherries, tart black currants, and seedy blackberries as minor notes of red peppercorn and fern leaves sneak in. The palate has a hint of soft oak that’s dipped in a tart blackberry cordial before a thin line of cherrywood drives the taste toward more salal and huckleberry with a dash of allspice lurking in the background. The end is pure silk with a tart brightness, a whisper of dryness, and a twinge of that woody and savory forest berry.
Bottom Line:
This is like walking through the woods and picking berries on a sunny day. It’s just freaking delicious and fresh and a little funky. This is the champagne you should be drinking right now.
The Eye features music’s best rising artists in a bare-bones studio space to perform renditions of their top songs with only one camera, one microphone, and one take. Featured on the latest installment is Prateek Kuhad, a quickly ascending Indian favorite.
Kuhad only started playing guitar in his late teenage years and honed his craft throughout high school and his time at New York University. The singer-songwriter later returned to India and launched his career and did well early, winning the Best Indian Act award at the 2016 MTV Europe Music Awards off the strength of his 2015 debut album In Tokens And Charms. His breakout hit, “Cold/Mess,” even found its way onto Barack Obama’s list of favorite songs of 2019. In 2020, his songs, and the angelic voice with which he sings them, landed him a deal with Elektra Records, making him the first Indian artist ever signed by the storied and long-running label.
Now, he finds himself performing for The Eye, turning in three minimal performances for the session of “The Last Time,” “Just A Word,” and “Co2.”
Armed with just an acoustic guitar, Kuhad goes through “The Last Time” by playing a finger-picked melody to set the table for his undeniably pure and beautiful voice. He goes about the other two songs in pretty much the same way because the approach isn’t one that needs tweaking. Kuhad’s vocals are a world-class asset worth putting front and center, so The Eye turned out to be an ideal showcase for them.
These songs have really helped Kuhad establish his identity on a larger scale: In an interview with The Line Of Best Fit from earlier this year, he said, “Even just six, seven years ago, it was a completely different situation. I would actually get asked in an interview if I could play the sitar, and now that doesn’t really happen anymore. I think people are more informed in the past few years.” He also noted of his latest album, this year’s The Way That Lovers Do, “Listening to it top to bottom is really quite an experience.”
Watch Kuhad perform “The Last Time,” “Just A Word,” and “Co2” for The Eye above.
Prateek Kuhad is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
As the newly-formed Warner Bros. Discovery goes through a regime change that recently led to a collective freakout over the fate of HBO Max, the entertainment giant appears to be ditching the 45-day theatrical window that took hold as the film industry came back to life during the pandemic. Despite having success with The Batman, which both cleaned up at the box office and delivered huge streaming numbers for HBO Max after a shortened theatrical run, WBD seems intent on returning to the pre-pandemic paradigm that emphasizes theatrical and VOD profits.
According to Decider, WBD is no longer streaming Elvis on HBO Max next week after previously announcing an August 9 release date. When reached for comment, the studio said that Elvis would eventually arrive on the platform, but the release window for films moving forward would be on a “case-by-case basis” signaling an abandonment of the 45-day window experiment. As for why WBD would go this route? Well, it was the previous guy’s idea, and a lot of those are being tossed out. (See: Batgirl.)
The project, which was internally referred to as “Project Popcorn,” was the brainchild of former Warner Media CEO Jason Kilar, and it enraged filmmakers and industry professionals at the time. Audiences, however, viewed it as a blessing, especially as the COVID-19 pandemic dragged on in waves. And for HBO Max, it proved to be an indispensable asset to getting the fledgling service off the ground after a difficult and delayed launch in 2020.
Interestingly, Top Gun: Maverick already beat WBD to the punch by returning to a 90-day theatrical window followed by a VOD release before hitting streaming at a later date. Unlike other Paramount films, Top Gun: Maverick did not make a 45-day jump to Paramount+, and it scored huge at the box office because of Tom Cruise’s demand to keep it off streaming as long as possible. Who wouldn’t want to copy that success?
It has been just over a year and a half since Megan Thee Stallion shared her debut album Good News and it appears the long-awaited follow-up may be on the way. Yesterday (August 4), the Houston Hottie posted the definition of the word “traumazine,” reading “the chemical released in the brain when it is forced to deal with painful emotions caused by traumatic events and experiences.”
Megan Thee Stallion reveals that her sophomore album is officially finished via IG story. pic.twitter.com/U61ZJQDAy5
It is possible this ends up a single, but either way, all signs are pointing to some form of new Megan music in the near future. The “Big Ole Freak” rapper has had an active 2022, releasing “Plan B,” “Flamin’ Hottie,” “Lick” with Shenseea, “Sweetest Pie” with Dua Lipa, and the recent “Pressurelicious” featuring Future.
Check out some of the fan reactions to the potential album announcement above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Last year, Academy Award-winning actress Nicole Kidman set out to embark on her biggest role yet: being the spokesperson for AMC movie theaters. While it might seem like a small feat, the actress went above and beyond, creating an ad campaign so moving and inspiring that movies were single-handedly brought back from their pandemic-induced lull. Kind of.
Now, Kidman has extended her contract for another year, which means there will likely be more incredible commercials before you go to see Halloween Ends in theaters.
AMC CEO Adam Aron announced the news in the company’s earnings call earlier this week. “As Nicole Kidman reminds us in AMC’s now iconic and revered advertising campaign, ‘Given that Hollywood has great stories to tell,’ it’s clear that movie fans are ever so eager to enjoy those dazzling images on AMCs huge solo screens,” Aron explained. “Speaking of Nicole, our ad campaign was so effective that we signed her to be our spokesperson for another full year.” A whole new year of Kidman memes? Heartbreak really does feel good in a place like this.
The ad campaign became an unexpected (and expensive) hit as moviegoers returned to the movie theaters last fall, sparking hundreds of memes and reenactments of Kidman’s iconic movie-inspired monologue. Fans even complained when an edited-down version was shown instead of the full one, and they made a petition to “release the Kidman cut.”
We aren’t just entertained, but somehow…reborn. Together. For another year. With Nicole Kidman.
Batgirl joins The Day the Clown Cried and I Love You, Daddy among completed or nearly completed films that were shelved. But unlike the controversial movies about a circus clown in a Nazi concentration camp and Louis C.K. as the dad of a young daughter who’s being seduced by an older man, Batgirl reportedly won’t see the light of day because Warner Bros. wants to save a few bucks.
Batgirl directors Adil El Arbi and Bilall Fallah (Bad Boys for Life) were understandably distraught by the decision. “We still can’t believe it,” they wrote in a joint post on Instagram. “As directors, it is critical that our work can be shown to audiences, and while the film was far from finished, we wish that fans all over the world would have had the opportunity to see and embrace the final film themselves. Maybe one day they will insha’Allah.” Until that day comes, however, they’ll share what they can of the movie.
Batgirl co-director Adil El Arbi shared a photo of what would have been Michael Keaton’s return as Batman. Shared on Arbi’s Instagram story, the photo shows Keaton in his full Batman costume, along with Leslie Grace’s Batgirl. The photo was shared following Warner Bros. Discovery’s sudden cancellation of Batgirl.
You can see our best look at Keaton’s Batman yet here.
Warner Bros. shelving Batgirl also reportedly deprived us of a reference to Michelle Pfeiffer’s Catwoman. If anyone can get the film released, it’s Britney Spears.
Given the number of people and organizations actively investigating Donald Trump for all sorts of criminal shenanigans, you’d think whatever part of his brain is able to concentrate would be focused on one thing: his many, many legal issues. But you would be wrong. Nope, as Seth Meyers reported on Thursday, Trump is currently pouring the bulk of his energy into attempting to seed the states he lost in the 2020 presidential election with as many MAGA candidates as possible. (Presumably with the idea that if and when he does run again, having “his” people in office will make it that much easier for him to get things done the way he wants to do them.)
All this is why, according to Meyers, Trump is currently visiting many of the states that voted against him in the 2020 presidential election—a.k.a. “Revenge States,” like Arizona—with the hope of swaying them to his way of thinking by endorsing Big Lie-believers and seeing them put in high-up positions.
“I’m sorry, Arizona is a ‘revenge state’ for him?” Meyers wanted to know. “What are you gonna do, make us live there? Oh, sure, it’s sunny and beautiful, but just try and order a pizza after 9 p.m.”
The mere idea that a former president would cite a state as a “revenge state” has Meyers both terrified and a little bit curious:
Nothing says ‘divider’ instead of ‘uniter’ more than a former president with a ‘revenge’ state. You lost an election. Stop acting like Liam Neeson threatening to get his daughter back…
Seriously, why does Donald Trump have a revenge state? Is this the first time a former president has gone on a ‘revenge tour’ after leaving office? Usually ex-presidents retire to a quiet life of paid speaking gigs and celebrity golf tournaments. I don’t remember William Howard Taft going from town to town, looking for anyone who didn’t vote for him in 1912 so he could kick them in the dick. ‘Hey, you with the Woodrow Wilson button! I’m gonna fight you! I just need to squeeze out of this bathtub first!’
Only time will tell what Trump’s revenge tour is all about, and—most importantly—whether it’s successful.
This is the summer of Beyoncé’s Renaissance, an album that has demanded everyone’s attention since it was announced in June and prefaced with the bombastic lead single “Break My Soul.” As fans marvel at the way it brings back house music and prioritizes track sequencing, they’re also starting TikTok trends and challenges based on the LP.
The current Renaissance trend involves the song “Plastic Off The Sofa,” which has intense vocal parts that remind us of why Beyoncé is as much of an icon as she is. The challenge is to try to emulate the “Love On Top” performer’s vocals, requiring lots of vibrato, jumping around the scale, and breath. It’s not easy, but that’s the point, plus it’s a good way to prove yourself if you’re a musician trying to get yourself out there on social media.
Even some celebrities are participating — Chloe Bailey posted an impressive video on Instagram, and somehow she makes it seem effortless.
It’s hard to imagine that even the most ride-or-die Dr. Oz supporters (do those exist?!) haven’t chuckled just a little bit after seeing one of John Fetterman’s savage takedowns of the former TV quack. As for everyone else? Oh, they’re laughing a lot—even beyond the borders of the state of Pennsylvania, where Dr. Oz only recently set up residence. Stephen Colbert feels you.
On Thursday night’s episode of The Late Show, the host discussed how millions of eyes are on the state of Pennsylvania where the battles for the role of governor and senator are heating up. But what Colbert really wanted to talk about was the senatorial battle between John Fetterman and Dr. Oz—though it could hardly be called a “battle.” According to Colbert:
Polls show Fetterman leading by double-digits, which might be because Pennsylvanians actually want a senator who is actually from Pennsylvania. Dr. Oz lived and voted in New Jersey as recently as the 2020 election. So Fetterman has gone full troll on Oz’s Garden State ass, even starting a petition to add Oz to the New Jersey Hall of Fame. That is lovely.
Colbert also noted that Oz has enlisted the help of several famous New Jersey-ians to help call Oz out as a fraud. Among them? Bruce Springsteen musician and The Sopranos star Steven Van Zandt, who warned Oz that he was out of his league by messing around with Fetterman and that “nobody wants to see you get embarrassed,” to which Colbert quickly raised his hand to make his own point: “I do!”
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Pressurelicious (@queen_stallion1) 
(@NoLove822) 
@Beyoncé running circles around us as per usual 
Capaldi