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It’s too soon to call Severance the GOAT, but when one of the best shows of 2022 returns, it will (eventually) explain the goats.

As part of the Apple TV+ show’s San Diego Comic-Con panel on Thursday, creator Dan Erickson was asked about the mysterious scene in episode five where Mark (played by Adam Scott) and Helly (Britt Lower) stumble upon a room where a Lumon Industries employee is feeding baby goats.

Erickson says he does have his own answers to your burning questions — even though he won’t give them away yet. For example, Erickson simply said, “Yeah,” in response to a fan question during the Q&A about the infamous goats inside Lumon Industries’ severed floor and whether or not there is a “significance” to them that will be revealed.

Erickson also discussed how he can’t help but read the Severance subreddit. “I was warned not to go on Reddit, on the subreddit for this show, at all. And I held off for about six minutes and then I went on and I was just on it every day. It’s kind of addicting. Sometimes they have ideas that are better than what I thought of,” he said. But while writing season two, he had to log off, because it’s “that thing of infinite options.” It can be “counterproductive to have all these other voices in your head — great as they may be.”

Well, not all of them are great.

(Via Yahoo! Entertainment)

With the release of the second Captain America solo effort, Winter Soldier, Steve Rogers (Chris Evans) had become a relic of a bygone era – in both the Marvel-verse and the real world.

“It was never going to be a slam dunk that they would automatically do a second one,” says Stephen McFeely when we spoke with him recently. McFeely co-wrote Winter Soldier and its predecessor, First Avenger with Christopher Markus.

That first film didn’t bring in as much money at the box office as Iron Man or Thor, but studio heads Kevin Feige and Louis D’Esposito appreciated the “charming period piece” that was Cap’s first solo outing and believed in what the character could be. Most of all, they had faith in the story McFeely and Markus could tell with him – a commentary on the military-industrial complex and the pitfalls of blind patriotism packaged as an ode to ’70s spy thrillers, complete with a Robert Redford heel turn.

“What does it mean to jump Steve in time?” McFeely recalls asking. “We quickly realized there was a need to not just do iPhone jokes. What’s the deeper thing here? Our Cap has missed Vietnam and Nixon and Watergate — all these things that we take for granted and these compromises that we’ve made along the way to get to where we are. So that was what we wanted to talk about. What does it mean to be a soldier and an American in 1945, and what does it mean now?”

To assist in telling that story, Marvel brought in big-screen newcomers Joe and Anthony Russo, a directing duo that had a list of TV credits to their name – think Arrested Development and Community – but no track record when it came to the kind of epic action expected from the MCU.

“We had already written a script before these TV directors had been hired,” McFeely explains. “Kevin [Feige] and Louis [D’Esposito ] said, ‘We’re going to go get these guys.’ We go, ‘What? Why would you do that?’ And then a universe was born.”

The Russos worked with McFeely and Markus for a year, knocking out a script that felt tighter and more structurally complex than any Marvel film before while establishing a creative partnership that has continued to help drive the MCU and, most recently, Netflix’s star-studded thriller The Gray Man. In that film, they once again work with Evans, throwing a series of exploding cars, train chases, and brutal brawls at the screen. But, just a few years ago, the team was cutting their teeth on an action sequence in an elevator that would eventually become one of the more intricate and memorable in MCU history. A throwback powered by practical effects, athleticism, and suspense that would put an exclamation point on Rogers’ all-important transition from a good soldier who always follows orders to a hero that questions authority in the name of the greater good.

Below, UPROXX chats with McFeely, actor Frank Grillo, and stunt choreographer Thomas Robinson Harper on how they crafted that crucial elevator fight, its importance, and if we’ll ever see anything like it in the MCU again in an era of CGI dominance.

Does Anyone Want To Get Out?

The idea to house Winter Soldier’s paranoia-driven mid-point climax in a tightly-confined glass box was sparked by two things: budget constraints and the Russos love of old-school action films. In our conversation, McFeely noted the pair’s affection for director Brian De Palma while referencing the tension in his film, The Untouchables. The Russo’s have credited Die Hard With A Vengeance director John McTiernan as a source of inspiration for their latest film, The Gray Man, and it’s easy to see the parallels between Winter Soldier’s elevator sequence and the one in that third Die Hard film with Bruce Willis in the Federal Reserve Bank elevator. But Winter Soldier ups the ante, packing in dizzying amounts of fight choreography and loads of suspense.

McFeely: [When] he looks Robert Redford’s character in the eye and says, ‘I’m not doing what you’re asking,’ in our various drafts, it then led to a lot of running around that building, trying to figure out a way out. It becomes a big chase sequence initially. But it became clear that meant we’ve got to build a lot [of additional sets]. It was going to take a lot and we just didn’t have it. Joe [Russo] came in and said, ‘I don’t know if we can afford all this, but we can afford an elevator.’

Harper: [Marvel was] pretty tight with money to be honest with you but we had an old-school producer, Michael Grillo. He knew how to get it done.

McFeely: The idea that everyone’s coming for Cap, Cap is smart enough to see it, and we are enjoying him seeing that guy sweat, and that guy’s finger move and then these huge dudes get on. It’s inviting the audience into the deliciousness, and they just can’t wait for it to end or to begin, I guess. That tension makes that scene. Yes, we could’ve spent 90 seconds just beating the hell [out of them], and we do; but my favorite part of it is, of course, the front end, when he asks if anyone wants to get out.

Harper: My brother, who works on my rigging crew, built a whole mock-up of the elevator with exact dimensions and height so we could rehearse it. We just started with two guys and then we added another guy and then we just kept adding and figuring out who was in whose way and how we could use another guy to do something. And so pretty soon we had all 12 of them in there.

Grillo: There were a lot of guys in that elevator. It’s like fighting in a phone booth, as they say. These were big guys in there. Strong guys. So we really had to be cognizant of not really hurting each other. It was like a football play. It was like this guy has to go there, that guy’s got to go there. I’m going to throw the ball over there and then we’re going to fight over there. It was like cause and effect. It was like dominoes.

Harper: Chris Evans was a dancer. He knows choreography so he could remember stuff right out. You’d show it to him once, maybe twice and he goes, ‘Okay, I got it.’ And he would nail it every time because he comes from a dance background. When I worked with Patrick Swayze it was the same. His mom owned a dance studio. In the end fight in the first Point Break, Keanu [Reeves] was sick at the time, so I did that whole fight with Patrick. And Patrick was absolutely one of the best. It was like he had a photographic memory for choreography. But he grew up competition dancing, so it really compliments when you’re going to do choreography for a fight. It really is like a dance.

Grillo: It wasn’t by accident that that thing came together. It was really well choreographed and it really kicked off the movie. It was a big part of what they wanted to do when they were telling the story.

Nothing Personal

According to Harper, the stunt team had a couple of days to film the elevator fight before moving on to the next big action sequence. He worked with the film’s editors and DPs, teaching them how to pan a camera with a punch, stopping and bringing it back just a little as soon as there’s impact. The result is crisper, cleaner jabs that feel visceral and convince the audience these guys are actually brawling with each other. Sometimes a punch did land, but for the actors, that was part of the fun.

Harper: We had done it so many times that they knew the routine. The first take is always at half speed, then we sneak up on it. A great fight, a full-blown fight, is really at about three-quarter speed of real-time because that’s when it really sells. If you go too fast, you can’t see stuff.

Grillo: The action stuff’s always the easiest. It’s sitting back and waiting for other people to do their thing that’s hard.

Harper: We call it egg on your face, and it’s the worst thing in the world, those chopsocky movies. You see them all standing there dancing around, waiting to fight one guy. I absolutely hate that. I’m like, ‘No, everyone is either incapacitated or dealing with another guy or something.’ I could point out exactly why one guy was laying on the floor and which guys we could get rid of to shoot something at a different angle. There was no ‘flailing around.’

Grillo: It’s very sequential. The pentacle of that fight is me and Chris having the standoff and if one guy is out of sync in that little, tiny space, you have to go again. And listen, a lot of times that’s what happened.

Harper: I like to have the actors do as much as I feel they can. And they are going to get bruised up here and there, but that’s part of it and they’re good with it. Frank’s a boxer, that’s his passion. The only thing with Frank is he would get a little too close. I was going, ‘Frank, you don’t need to be that close. You’re going to hit one of these guys.’

Grillo: We beat the hell out of each other. We were black and blue at the end of it but in every movie I do it ends up that way because you can’t help but hit each other. I like to do that. It’s like playing in the schoolyard again.

Harper: He loves that stuff. I had Frank do so much because it was right in his wheelhouse. He was good at it and he understood it. Chris knew what he wanted to do and what he couldn’t do and he had no problem having his double do it. He’s like, ‘Yeah, nope. I’ll have Sam [Hargrave] do that.’ And that was it. He’s a very professional guy.

Grillo: Dancer boy had to learn to get hit. [laughs] I’m joking. Chris was always game and fun. For all of his machismo — and he is Captain America — he really is a theater geek. I’m like, ‘Keep it down with the musicals, would you, please?’ But I love him. He’s like a brother. We had a lot of input. I’ve done 60-something movies. Half of them are action movies. Not all very expensive or good, either. So I’m forced to do my own stuff otherwise somebody I don’t trust is going to do it and get hurt.

Harper: My job is to give the director everything and more that they want out of the scene, but make sure that everybody goes home every night. It’s very nerve-wracking. I did Waterworld and I had 53 people over four square miles of ocean back in 1995. And I would just say a prayer every day, ‘Please don’t let someone die today.’ We had sharks in the water. I saw a guy on a jet ski get sucked right underneath a 65-foot boat. Thankfully, he didn’t get hit by the propeller. But I’ve had full-blown arguments with actors. That’s why I’ve turned down two Mission Impossible films. I will not work with Tom Cruise. I do not want to be the guy on call when he gets hurt or killed.

The New World Order

Despite the success of Winter Soldier and fan and critical praise for its genre-leaning and affinity for practical effects, epic CGI battle sequences and colorful space adventures have more defined the era of Marvel films that have followed. The very successful films that have followed. That’s less an indictment on Winter Soldier and more a sign of changing times, but while this love letter to throwbacks now feels like a throwback itself, it’s clear that there’s a level of wistfulness and what might have been over an MCU that more mirrored some of the practical wizardry on display in this memorable scene.

Grillo: Winter Soldier to me is the best all-around movie. It’s a smaller part of a big franchise that had such an impact on my career. But back then, they didn’t know what they were doing with all the characters. Crossbones is in the movie for like 12 minutes. But that was a character that was going to be developed. I had signed a multi-picture deal. They locked everybody in but obviously, things went in a different direction. But I’m very proud of being part of something that is at such a high level.

Harper: I was hoping they were going to go keep going in that direction [but] they stayed in the CGI world of it all. Jon Favreau is probably the best director I’ve ever worked with and in Iron Man 2 we came up with a fun thing for Scarlett Johansson to do where she jumps up with her legs around Happy’s throat and spins him around in the boxing ring. Kevin and Louis were like, ‘Oh yeah, but we could do this and CG in this.’ And we’re like, ‘No, no, no. Let’s do this real.’ I kept trying to get more real stuff in there. And they kept fighting me on it.

Grillo: It’s the business. I think they found their lane with these movies that were bigger and there was more CGI and the stories were a little more out there and comic bookish.

McFeely: I’ve been very fortunate to have a bunch of [Marvel] movies made, but [Winter Soldier] is arguably my favorite, because I think it’s the tightest script. There are certainly higher moments in other movies when people pick up hammers, and portals open, and people die that will tug your heartstrings more, but if you’re a cold calculating structuralist, Winter Soldier is a little Swiss watch, I think.

Grillo: Winter Soldier was the one film that stands alone as a filmmaker. As in making movies, not superhero movies. And I don’t know that it’ll ever go back that way.

Beyoncé’s “Break My Soul” is a hit: It has nearly 75 million streams on Spotify already and its No. 7 peak on the Billboard Hot 100 represents Beyoncé’s biggest chart success since her and Ed Sheeran’s “Perfect” was No. 1 in 2017. (Her most recent top-10 solo single was 2016’s “Formation.”)

Fans have listened to the song a lot at this point and now Beyoncé has offered a different look at it by releasing the instrumental and a capella versions of the song.

Having these two halves of the track makes it easier for fans to appreciate both the instrumental and the vocal, as it’s now easier to hear the subtleties of both. Not to mention, this opens the door for producers and remixers to put their own spin on the song, or for singers to take the mic and sing it along with the original production.

The a capella in particular has been well-received, as it has left some fans in awe of Beyoncé’s vocal capabilities:

Credited as composers on the album version of “Break My Soul” are Beyoncé, Terius “The-Dream” Gesteelde-Diamant, Christopher A. Stewart (Tricky Stewart), S. Carter (Jay-Z), Allen George, Fred McFarlane, Adam Pigott (BlaqNmilD), and Freddie Ross (Big Freedia).

Listen to the instrumental and a capella versions of “Break My Soul” above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

When it comes to rap, money is the motive for many. Awards, acclaim, and lists are cool, but the pursuit of poses drives most of the biggest acts. Key Glock lives this reality to the fullest in his new video for “I Be.” Whether it be beautiful women counting up his stacks or adding more to his plate after big wins in poker, there is no shortage of cash in this visual. Key Glock raps with calculated confidence as he reflects on all he does in his life to keep the bags flowing. If the video doesn’t make it clear enough, the bars certainly add to the narrative.

The 24-year-old follows behind a lineage of Memphis rappers with similar wealth goals, dropping this visual off just weeks after his latest single “Diapers.” 2022 also saw Glock share “Pain Killers,” “Proud,” and the deluxe version of Yellow Tape 2, which added 10 songs to the original 2021 iteration of the album. The young rapper also showed what he could do alongside a seasoned veteran that same year, joining forces with the late Young Dolph for Dum And Dummer 2.

With his work rate, it may be possible another project is coming before the year ends.

Check out Glock’s “I Be” video above.

Up until the release of Tyler’s fourth studio album, Flower Boy, he was still considered an underdog. After its release, he found himself at the forefront of pop culture, poised to become a No. 1-selling, Grammy Award-winning, certified superstar. A lot of that is owed to the stylistic switch he made on Flower Boy; shedding his abrasive, foul-mouthed shock-rapper persona, Tyler leaned into more melodic production sensibilities and confessional songwriting — a gamble that surely paid off with more mainstream acceptance after his early material made the industry establishment keep him at arm’s length.

Today, on Flower Boy‘s fifth anniversary, Tyler reflected on how the album’s release was the moment that “changed everything” for him and shared his favorite musical moments from it, getting really specific as he underlined those moments down to the bar.

“my favorite FLOWER BOY moments: sometimes; music under first 4 bars of 2nd verse on pothole; ‘find the words’ section on garden shed; 2nd half of i aint got time; dropping seeds/november/ enjoy today as a whole; glitter 2nd half harmonies,” he wrote. “flower boy changed everything for me, thank you all for your ears.”

Now that Tyler’s wrapped up his tour for Call Me If You Get Lost, it’ll be interesting see what new creative turns his career takes.

After locking in a court date for its lawsuit against Elon Musk, Twitter has released a second quarter earning reports where the social media company repeatedly blames Musk’s botched acquisition as a cause of revenue loss. As the attempted purchase went from a done deal to Musk suddenly growing concerned about bots and attempting to back out, advertisers understandably had “uncertainty” about buying space on Twitter as the digital ad industry is experiencing problems of its own.

Via The Verge:

For the time being, though, the chaotic acquisition seems to be making it more difficult for Twitter to sell ads. Bloomberg previously reported that Twitter was trying its best to calm advertisers’ concerns about how Musk might change the platform, while Ad Age reported more recently that the drama has sent the company’s ad sales into “disarray.”

Interestingly, Twitter experienced user growth during the second quarter, but not because of Musk. The company cites “ongoing product improvements” for an increase in users.

Despite Musk causing a dip in ad sales, Twitter is still suing the Tesla CEO to complete the merger agreement at the agreed upon stock price. While Musk may be balking about the bot problem at Twitter, those concerns ring hollow considering Musk specifically cited bots as his reason for buying the platform in the first place. He boasted that he would not only fix the problem himself, but turn the platform into a free speech mecca. However, that was before Tesla’s share price started plummeting (possibly because of the acquisition) as did Twitter. Now, Musk might be forced by a Delaware court to complete the original deal, which in effect, means he’d be on the hook for buying Twitter at billions more than its worth.

(Via The Verge)

When legendary musicians are inducted into the Rock And Roll Hall Of Fame, they get a classy trophy, a star-studded ceremony, and honors at the official museum. But the Indiecast Hall Of Fame inductees get something even better: bragging rights. On this week’s Indiecast episode, hosts Steven Hyden and Ian Cohen induct albums into Indiecast HOF in three categories: ’90s, ’00s, and 2010s.

The indie news front was fairly quiet this week, other than popular podcasting and TV duo Desus And Mero announcing they’re parting ways after what seemed to be tension and animosity. It now leaves Indiecast as the only pop culture podcasting duo left in the universe. Steven and Ian also share their thoughts about The Wonder Years’ new music and dedicated fan base.

In this week’s Recommendation Corner, Ian gives props to Pool Kids, a Florida-based band that sounds like Paramore if Hayley Williams was obsessed with listening to Rush. Steven endorses the new album by John Moreland, whose ninth album Birds In The Ceiling is out now.

New episodes of Indiecast drop every Friday. Listen to Episode 98 below and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and Twitter for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

[This post contains spoilers for Nope — seriously, turn back now if you haven’t watched the movie yet… this is your last chance]

Jordan Peele and Paul Anka both have the same advice: just don’t look.

Early in the director’s new film, Nope, Haywood’s Hollywood Horses owner O.J. (played by Daniel Kaluuya) takes one of his horses to a film set, and even after instructing everyone to not look the animal in the eyes, they don’t listen and the horse freaks out. To make ends meet, O.J. loans his and his sister Emerald’s (Keke Palmer) horses to Ricky “Jupe” Park (Steven Yeun), a former-child star who now runs a Western theme park.

That’s one connection between the Haywoods and Park. The other? Aliens.

I won’t go through the entire plot of Nope or do one of those “Nope ending, explained” posts — there are plenty of those elsewhere on the internet. Instead, I want to focus on one element of the film: how O.J. and Emerald manage to survive their encounters with the flying saucer, henceforth referred to as “Jean Jacket,” and why Ricky doesn’t.

In short, Simpsons did it.

O.J. learns that if you don’t look at Jean Jacket, it will basically leave you alone. This is also how Springfield’s mascots, including Lard Lad (but not the captain of the high school basketball team), are defeated in the “Attack of the 50-Foot Eyesores” segment of “Treehouse of Horror VI” on The Simpsons. “To stop those monsters, one-two-three / Here’s a fresh new way that’s trouble-free / It’s got Paul Anka’s guarantee,” Anka sings, while Lisa adds, “Guarantee void in Tennessee.” Together, they repeat, “Just don’t look.”

Some animals see direct eye contract as a threat, and Jean Jacket is no exception. It’s why it devours Ricky and his paying customers at Jupiter’s Claim; they’re too blinded by the spectacle to realize they’re in danger. If only they had listened to Paul Anka.

For more on Nope, check out our interview with Jordan Peele.

As has been the case with all seven previous hearings, Thursday night’s January 6th hearing delivered a series of bombshells about what exactly Donald Trump was doing—or, more accurately, not doing—in the hours during which the rest of the country watched as rioters broke into the Capitol and attempted to burn democracy as we know it to the ground. But the one moment that had everyone talking, tweeting, and laughing out loud in the room belonged to Missouri senator Josh Hawley.

Hawley made his pro-coup position clear on the day of the Capitol riots when he seemed to salute the rioters with his frat bro greeting—a moment he was once so proud of he had it printed on a mug. But last night, we saw what happened after his faux tough guy stance: When Hawley was told that the rioters had breached the Capitol, he and his soul “dipped in dogshit” ran the f*ck out of there like a Looney Tunes character.

Had there been any women, children, or infirmed individuals in his way, he most likely would have pushed them aside without a second thought. It didn’t take long for Twitter to react.

And while Twitter is usually known as a place where people like to argue, millions of people seemed to have the same idea: setting Hawley’s Forrest Gump imitation to music, with more than one person hearing The Benny Hill Show theme.

As has been the case with all seven previous hearings, Thursday night’s January 6th hearing delivered a series of bombshells about what exactly Donald Trump was doing—or, more accurately, not doing—in the hours during which the rest of the country watched as rioters broke into the Capitol and attempted to burn democracy as we know it to the ground. But the one moment that had everyone talking, tweeting, and laughing out loud in the room belonged to Missouri senator Josh Hawley.

Hawley made his pro-coup position clear on the day of the Capitol riots when he seemed to salute the rioters with his frat bro greeting—a moment he was once so proud of he had it printed on a mug. But last night, we saw what happened after his faux tough guy stance: When Hawley was told that the rioters had breached the Capitol, he and his soul “dipped in dogshit” ran the f*ck out of there like a Looney Tunes character.

Had there been any women, children, or infirmed individuals in his way, he most likely would have pushed them aside without a second thought. It didn’t take long for Twitter to react.

And they’re still reacting this morning:

​​https://twitter.com/AdamParkhomenko/status/1550471715280543745?s=20&t=n7mW1d7qoCZe_o_PknhJPA

And while Twitter is usually known as a place where people like to argue, millions of people seemed to have the same idea: setting Hawley’s Forrest Gump imitation to music, with more than one person hearing The Benny Hill Show theme.