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Netflix darn well knows that spring has sprung, and they’re also springing back into action with the return of some wildly popular series. The return of Ozark for a final batch of Ruth Langmore’s rage (and Byrde family comeuppance) ride at the top of this month’s crop, but there are many more offerings, including some high-profile highlights. For example, have you caught up on Better Call Saul? Well, Season 5 is coming to this streaming service ahead of Season 6’s arrival on AMC. Fingers crossed for Kim Wexler.

In addition, Natasha Lyonne’s anti-fabulous Russian Doll is returning with more universe f*ckery, and there’s a guilty pleasure of a metal-loving D.B. Weiss/Tom Morello team-up coming your way, too. If you’re looking for some archive content to binge hard, the Blade trilogy and Sherlock Holmes movies are incoming, and if you’re a Dawson’s Creek fan, that’s fleeing the ether soon, so you’ve only got a few more weeks to re-live that one.

Here’s everything coming to (and leaving) Netflix in April.

Ozark: Season 4 Part 2 (Netflix series streaming 4/29)

Alright, one thing is certain: this season is gonna be violent and probably not end well for the Byrde family, who only wanna flee from their money-laundering adventures and go back to their cushy Chicago lives. Is that even possible at this point? Only these last episodes will tell that tale, and Ruth is hellaciously angry about losing almost everything in the world. She’s the centerpiece of the above teaser, and we’ll see if she can finally rise above that “cursed Langmore” status that she keeps clinging onto. There’s more cursed cookie jar, too, so we’ll see if she can rise above those ashes. She doesn’t seem too afraid to die, but please, don’t let that happen to her.

Better Call Saul: Season 5 (AMC series streaming 4/4)

Another character that cannot die, or the fans will rage: Kim Wexler. The anxiety for her runs high going into the final season (coming to AMC on 4/18) as the spinoff grows ever closer to the Breaking Bad timeline. And since she never surfaces in that flagship series, things feel very ominous, also because those finger guns and Saul Goodmanification do not bode well for her. But maybe she’ll show up in a Cinnabon scene. One can hope!

Russian Doll: Season 2 (Netflix series streaming 4/20)

Say it with me: what a concept. The close to perfect first season presented quite a dilemma, which is how to follow up the debut while believably upping Nadia and Charlie’s respective ongoing plights. Also, Charlie’s got quite a mustache now, and Annie Murphy has joined the cast while one of the show’s new YouTube revealed taglines is “The universe is back on its bulls@%t.” This season, there’s a time portal and hauntings from the past and, uh oh, more stairs.

Metal Lords (Netflix film streaming 4/8)

Game Of Thrones HBO co-creator D.B. Weiss wrote this little ditty while teaming up with Rage Against The Machine axeman Tom Morello as a love letter to the metal genre. The story revolves around two high-schoolers who seek the ultimate glory and win contests and be gods, and so on. Unfortunately, it’s hard to find a bassist when Black Sabbath isn’t as popular with the kids as Justin Bieber is. The struggle is real.

David Spade: Nothing Personal (Netflix comedy special streaming 4/26)

Netflix has slowly but surely been rebuilding up a stash of fresh comedy specials after the pandemic largely shut things down. Dave Chappelle will be back, of course, but for now, David Spade is making his Netflix comedy-special debut with a set featuring a multitude of rant topics. That includes, uh, crabs and how he tells people “no thanks” to drugs. Hmm.

Avail. TBA
Hold Tight
The Taming of The Shrew

Avail. 4/1
A Cinderella Story
Abby Hatcher: Season 2
Any Given Sunday
Apollo 10 1/2: A Space Age Childhood
Argo
Battle: Freestyle
Blade
Blade II
Blade: Trinity
The Blind Side
Blow
Bonnie and Clyde (1967)
The Bubble
Captain Nova
Catch and Release
Celeb Five: Behind the Curtain
CoComelon: Season 5
Delta Farce
Eagle Eye
Forever Out of My League
Four Brothers
Full Metal Jacket
Get Organized with The Home Edit: Season 2
Grown Ups
Heartland Season 14
Her
How to Train Your Dragon
Inception
Love Actually
Molly’s Game
Monster-in-Law
New York Minute
The Nut Job
Polly Pocket: Season 4: Part 1: Summer of Fun
Puss in Boots
The Rental
The Ring
Rumor Has It…
Saving Private Ryan
Sherlock Holmes
Sherlock Holmes: A Game of Shadows
Shrek Forever After
Something’s Gotta Give
The Last Bus
Tomorrow
Trivia Quest
We The Animals

Avail. 4/4
Better Call Saul: Season 5

Avail. 4/5
Ronny Chieng: Speakeasy

Avail. 4/6
Furioza
Green Mothers’ Club
Jimmy Savile: A British Horror Story
Michela Giraud: the Truth, I Swear!
The Ultimatum: Marry or Move On

Avail. 4/7
Queen of the South: Season 5
Return to Space
Senzo: Murder of a Soccer Star

Avail. 4/8
Barbie It Takes Two: Season 1
Dancing on Glass
Dirty Lines
Elite: Season 5
Green Eggs and Ham: Season 2
Metal Lords
Tiger & Bunny 2
Yaksha: Ruthless Operations

Avail. 4/9
My Liberation Notes
Our Blues

Avail. 4/10
The Call
Nightcrawler

Avail. 4/12
Hard Cell
The Creature Cases

Avail. 4/13
Almost Happy: Season 2
Our Great National Parks
Smother-in-Law
Today We Fix the World
The Ultimatum: Marry or Move On

Avail. 4/14
Ultraman: Season 2

Avail. 4/15
Anatomy of a Scandal
Choose or Die
Mai
One Piece Film Z
Strawberry Shortcake Berry in the Big City: Season 1

Avail. 4/16
LEGO Friends: Girls on a Mission: Seasons 1-4
Man of God
Ouija: Origin of Evil
Van Helsing: Season 5

Avail. 4/19
Battle Kitty
Pacific Rim: The Black: Season 2
White Hot: The Rise & Fall of Abercrombie & Fitch

Avail. 4/20
The Marked Heart
Russian Doll: Season 2
The Turning Point
Yakamoz S-245

Avail. 4/21
All About Gila
He’s Expecting

Avail. 4/22
Along for the Ride
Heartstopper
Selling Sunset: Season 5
The Seven Lives of Lea

Avail. 4/25
Big Eyes

Avail. 4/26
David Spade: Nothing Personal

Avail. 4/27
Bullsh*t The Game Show
The Mystery of Marilyn Monroe: The Unheard Tapes
Silverton Siege

Avail. 4/28
Bubble

Avail. 4/29
Grace and Frankie: Season 7 – The Final Episodes
Honeymoon with My Mother
Ozark: Season 4 Part 2
Rumspringa
YOUTH v GOV

Leaving 4/1
Star Trek: The Next Generation: Seasons 1-7

Leaving 4/2
Truth or Dare

Leaving 4/4
The Killing of a Sacred Deer

Leaving 4/5
The Florida Project

Leaving 4/8
House of the Witch

Leaving 4/15
About Time

Leaving 4/18
Miss Sloane

Leaving 4/24
King Arthur: Legend of the Sword

Leaving 4/25
The Artist

Leaving 4/26
August: Osage County

Leaving 4/29
El señor de los Cielos: Seasons 1-7
Hostel

Leaving 4/30
Dawson’s Creek: Seasons 1-6
Dear John
First Knight
Léon: The Professional
Moneyball
Snakes on a Plane
Snatch
Stripes
Superman Returns
The Shawshank Redemption
The Town

Young Thug‘s YSL Records artist T-Shyne drops his debut album Confetti Nights in two weeks, on April 1, but first, the New York rapper has shared the tracklist for the Kevin Durant-produced project. Coming in at 15 tracks, the album might be something of a departure for YSL Records, which is made up primarily of Thugger’s fellow ATLiens, but it manages to stay relatively close to home with its impressive guest list. Features on the album include 6lack, Dougie F, Gunna, JID, Meek Mill, Nav, Swae Lee, and of course Young Thug.

Of the 15 songs, five have been previously released: “Top 5,” “Feed The Fam,” “30 For 30,” “That Go! (which he previously performed on UPROXX Sessions),” and “Sugar Water” featuring Young Thug. Naturally, as T-Shyne’s benefactor, Thugger appears on the album three times, on “Fighting Demons,” “That Go!” and “Sugar Water.”

In a recent interview with AllHipHop, T-Shyne broke down the album’s concept, saying, “It’s that championship mentality. That feeling, that Mamba mentality. The story of Confetti Nights goes from a rookie going through the seasons. At first, he might not get no playing time. Eventually, you start doing your thing and then go on to win championships. The image I originally wanted for the cover was this picture of Kobe, it’s him with his hands up and all the confetti falling down. Rest in peace, Kobe.”

Confetti Nights is due 4/1 via YSL Records and 300 Entertainment.

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

Last month, Spoon reached a big career milestone by releasing their tenth album, Lucifer On The Sofa. The Texas favorites apparently saw a lot of potential for diversity with one of the album’s songs, the 2021 single “Wild,” as today, they’ve dropped the Wild EP, which features four versions of the song.

Aside from the original album version, a highlight is “Jack Wild,” a new version of the track produced by Jack Antonoff (who actually co-wrote the original song). Antonoff’s version of the song is a bit lighter than the more rocking album version. The percussion is less aggressive and the guitars are given less prominence in the mix, giving the song a more open feel overall.

Then there’s “Trashy Wild,” which goes in the opposite direction of Antonoff’s remix by amping up the rock elements. Also contributing to the EP is Dennis Bovell, a long-standing and revered figure in the dub and reggae community. His version of “Wild” gives the rhythm more prominence and adds texture via coyote howls and other noises.

Spoon’s Brit Daniel previously spoke about writing the song with Antonoff, telling Apple Music:

“Jack and I got together years ago. I feel like we worked on two songs — this one and ‘Can I Sit Next To You’, but nothing really happened with that. I don’t know how exactly to describe his signature other than there’s something about the chord changes that are a little more epic than usual. When you work with other people, you recognize how, when you’re writing on your own, you get locked into certain patterns. Even when you’re coming up with a brand new song, its new chords and its new changes and everything, there are certain patterns that just exist in your mind. So, when you work with other people, it’s so much easier to break out of those patterns. We just kind of got brought together — someone suggested we would enjoy writing together and I sure did.”

Stream Wild EP above.

Four months with the Washington Wizards were seemingly not enough for Spencer Dinwiddie to rediscover his form of 2019-20 as a high-level offensive creator. He struggled to establish consistency, posted his worst scoring efficiency since 2015-16 — including a 50.1 percent true shooting — and lacked the necessary verve as a dribble-drive speedster.

During Dinwiddie’s six weeks with the Dallas Mavericks, all it took for him to rediscover that 2019-20 form was an eight-day layoff. In his first two games as a Maverick, he averaged six points and three assists while hoisting just 10 shots.

Since then, across 12 post-All-Star Break games, the 28-year-old is averaging 19.6 points and 4.3 assists on 62.5 percent true shooting (.494/.397/.794 split). He’s been integral to a surging Dallas squad that had found rhythm before his arrival, yet looks even more dangerous with him in the fold.

During this stretch, the Mavericks are 9-3 when Dinwiddie plays, featuring wins over the Jazz, Warriors (twice), Celtics, Nets, and Timberwolves — including game-winning triples from Dinwiddie against Boston and Brooklyn. Swapping him and Kristaps Porizingis has accommodated various pillars of the roster offensively, replacing an incongruent complementary player alongside Luka Doncic with a concordant one.

Although Dallas’ offensive rating sits just 17th since the All-Star Game, the manner in which Dinwiddie heightens this team’s attack is prevalent through both the film and an assortment of other numbers. And individually, the renaissance he’s enjoying is obvious. A longstanding hallmark of Dinwiddie’s offensive prowess is his explosion off the bounce. His ability to compromise defenders from a standstill empowered him to pilot an injury-riddled Nets team to the playoffs in 2019-20 and was a foremost allure when he entered free agency last summer.

Much of that dissipated in Washington. According to Cleaning The Glass, his rim frequency cratered from 38 percent (74th percentile) in 2019-20 to 21 percent (33rd percentile), while his finishing production fell from 60 percent (57th percentile) to 57 percent (40th percentile).

With Dallas, the former is up to 33 percent (74th percentile) and the latter is up to 65 percent (65th percentile). He just seems to have found the elite first step and start-stop ability that’s been the bedrock of his isolation and ball-screen creation, which has encouraged him to attack more often to better results. He’s lighter on his feet to change paces and directions before defenses can react, too.

Furthermore, by virtue of winning the initial battle with defenses routinely again, he’s back to his elite foul-drawing tendencies. His free-throw rate has ballooned from .291 in Washington to .440 in Dallas. He’s also trimmed the three-point rate from .459 to .405, largely the product of cutting out some pull-up triples, which have not been kind to him this year (29.9 percent).

The ripple effect of Dinwiddie’s own improvements is redefining a mediocre dribble-drive game for Dallas. Before his addition, the Mavericks ranked 12th in drives per game at 45.9, per NBA.com. Since he entered the lineup on Feb. 15, they’ve been second at 54.7. With more downhill juice moving forward, the hope would be they’re less reliant on Doncic’s do-it-all-nature and have more useful versatility on offense to avoid fatiguing him in key games, which has certainly been an issue at times in the last couple postseasons.

For instance Dallas was 14-15 with a 99.5 offensive rating on 51 percent true shooting in clutch situations before the All-Star Break. While there is almost assuredly some variance at work here, dastardly clutch play has plagued this team each of Doncic’s four seasons, so those numbers certainly aren’t just stemming from randomness. Post-All-Star Break, Dallas is 7-1 with a 134.3 offensive rating on 67.7 percent true shooting in clutch time. Dinwiddie is absolutely playing a role in that upward trajectory, even if the fickle nature of shot-making is also at hand to some degree.

His ability to thrive off the catch, whether it be as a spot-up presence (46.4 percent on catch-and-shoot threes with Dallas) or leveraging his burst pairs harmonically alongside someone like Doncic, who is constantly drawing help and setting up open threes. When defenses load up to quell Doncic’s creation, especially late in games, Dinwiddie has proven to burn them for that tactic.

Inversely, Dinwiddie provides the Mavericks another supreme advantage creator off of whom to play. While Jalen Brunson has been masterful this year, he’s better suited as a secondary scorer rather than holistic playmaker and doesn’t bend defenses to the magnitude someone like Dinwiddie can. A third perimeter creator and second beyond Doncic has been hugely beneficial. It’s easing much of the burden for Brunson during non-Doncic minutes, stationing another reliable ball-handler next to him.

Dallas sports a plus-12.4 net rating in the 439 possessions that Brunson and Dinwiddie have shared the floor sans Doncic. Brunson’s blend of footwork, shot fakes, and burst are lethal off the catch when defenses are scrambling to recover. The acquisition of Dinwiddie has increased those chances.

Before Dinwiddie, 33 percent of Brunson’s field goals were assisted. With the veteran guard in the fold, that number has risen to 51 percent. Brunson is an adept creator, but he’s assimilated seamlessly to a role featuring more off-ball reps and doesn’t have to toss the entire bag of pivots and fakes at defenders to catalyze the offense. Pre-All-Star Break, he averaged 16-5-4 on 57.9 percent true shooting. Post-All-Star Break, he’s averaging 15-3-3 on 59.4 percent true shooting. The adjustment is indiscernible on paper and the film displays someone who’s easily adapted.

Brunson isn’t the lone supporting cast member thriving with another creator around. Dorian Finney-Smith, who’s already playing the best hoops of his career, has been lights out amid Dinwiddie’s revival. He’s averaging 14-5.5-2 on 69 percent true shooting since games resumed, including a dynamite 45.2 percent clip beyond the arc. Whether it be spot-up threes or fakes into drives against a splintered defense, it just seems like the majority of his looks are high-quality these days. Dinwiddie plays a part in both of these prosperous month-long runs from vital members of the Mavericks.

With Dinwiddie in tow, Dallas now rosters a pair of ball-handlers who can simply torch switches. Brunson is certainly adroit as well, but Dinwiddie is another creator who is probably less susceptible to being quieted by disciplined wing defenders.

There’s also worthwhile contrast and overlap between the ways Doncic and Dinwiddie cook as scorers. Dinwiddie 0-60 acceleration leaves Doncic’s in the dust, while Doncic’s craft, with fakes and footwork, is perhaps a league-wide superlative. Yet they also win with size and physicality, comfortable applying their frames to yield comfortable shots.

That range of stylistic diversity will be — and has been — fruitful as the games assume greater gravity. Selling out to stop Doncic doesn’t immediately mean funneling the ball to unqualified creators. Dinwiddie will exploit that to a degree previous iterations of the Doncic-led Mavericks did not.

Dallas is 17.7 points better per 100 possessions with Dinwiddie on the court. His multifaceted creation has benefited himself and others. How he changes its postseason fortunes is already being showcased in the first six weeks of this partnership. Even if/when some regression comes (46.4 percent on spot-up threes and 63.6 percent on pull-up twos feels unsustainable), he’s layered novel dimensions into this squad. Dallas is rolling, and Dinwiddie sits near the top of the list of explanations.

A team that once didn’t quite have the flexibility necessary to secure a series victory now sits top 10 defensively and has diversified its offensive options. In channeling the Dinwiddie of old, he’s also helped further extinguish the Mavericks of old.

The ruling princess of pop, Katy Perry, has switched gears over the last few years. During the last decade, the sometimes whimsical, sometimes raunchy Katy of One Of The Boys and Teenage Dream gave way to more pristine, classic sounds of Prism, and after the flop that was Witness, her most recent album, Smile, flew a bit under the radar. Instead of pushing onward following up two lackluster records, Perry morphed, focusing instead on her personal life, a solid relationship with actor Orlando Bloom, and announced she was pregnant with her first child days before the pandemic hit in 2020. Her timing couldn’t have been better. Perry gave birth while the world was in lockdown, took the necessary break that having a newborn requires, and pivoted to putting on a show that lets her stay in one place — a Vegas residency.

Even with the battery of hits she has in her repertoire, when early looks of the residency hit the internet late last year, the reaction was outsized, incredulous even. Katy had gone full-blown mom mode, orchestrating a kid-friendly show with giant, talking toilets, an entire act supported by anthropomorphic trash, and an acid trippy section that starred a host of dancing mushrooms (who looked decidedly phallic, no less). From what these snippets seemed to reveal, Play was Katy In Wonderland, a bizarro world that turned the more traditional idea of a glitzy, glam Vegas show on its head.

In truth, the Pixar moments in Katy’s Vegas show are only half the story. Yes, Play seems more influenced by the birth of Daisy — Perry and her partner Bloom’s 18-month-old daughter — than the sex kitten years that defined Katy’s Teenage Dream reign. But in practice, the show offers a well-balanced mix of high-brow, pop diva glam right alongside all the potty humor. The impact of Toy Story on Play is another element that social media clips don’t quite convey; it’s a look back on childhood moments from the perspective of our heroine as “Katy Doll,” a viewpoint that portrays both the horror and beauty of answering to a child’s every whim.

Expertly combining hits from every era of her career — sometimes even into superpowered medleys — and even taking a moment to joke about the way some of her songs have aged with regards to “internet comment sections,” (See: “You’re So Gay,” “I Kissed A Girl” etc) the other outstanding element of Perry’s residency is her live vocals. While plenty of pop stars rely on backing tracks or lip-syncing to carry them through the physical demands of a live show, Katy sang every note, and all of it was powered by a state-of-the-art sound system in the property’s brand new, 5,000 seat theater. Since plenty of the entertainment industry’s most iconic venues have been on the market for decades now, it’s actually quite rare to experience a show performed in a theater built in the last year or so.

Resorts World’s debut on the Vegas strip was already highly anticipated, as the first new hotel to open on the strip itself in over a decade, and they spared no expense in making their theater a destination. The venue is decked out with over 250 L-Acoustics speakers, which offer a different kind of sound mixing than traditional stereo. They’ve dubbed their mix “L-ISA,” and it’s definitely a noticeable upgrade for sound to be this clear in such a big space. Smaller, background players like Katy’s band, or the actual harmonies from her backup singers, come through right in tune with her main vocal; there’s less full-tilt loud sound and more nuanced, focused moments with greater modulation between the high and low moments.

Even if you’re not a huge gearhead, L-Acoustics are the speaker of choice for Coachella, meaning Resort’s World is falling in step with the top-billed festival in America. Clearly, their emphasis on live entertainment is not an afterthought, and if you want a chance to see if the setup really makes a difference, just book two Vegas shows back to back and compare notes. As for Katy’s show, there were actually a few moments where the ability to hear live instruments and additional vocalists made a huge difference; “Waking Up In Vegas” was retooled as a show tune, her newest single, “When I’m Gone” pulsed pure EDM oontz, and “Teenage Dream” became a set-closing ensemble piece.

The show’s closer, “Firework,” shone too; this one, as a standalone performance by Katy on her own, framed against a gigantic, pink-hued keyhole, with a cascading staircase of rainbow gauze at her feet. And in that final spotlight, belting out the kind of comforting song a mother would sing to a child, Katy looked like a star again.

Set List:

Act 1 – Henry the Horror
“E.T.”
“Chained To The Rhythm”
“Dark Horse”
“Not The End Of The World”

Act 2 – Flushed
“California Gurls”
“Hot N Cold” / “Last Friday Night (T.G.I.F.)”
“Waking Up In Vegas”

Act 3 – Eat Me
“Bon Appétit”
“Daisies”
“I Kissed A Girl”

Act 4 – Trashun
“Lost” / “Part Of Me” / “Wide Awake”
“Never Really Over”
“Swish Swish”
“When I’m Gone” / “Walking On Air”

Act 5 – Perry Playland
“Teenage Dream”
“Smile” / “Roar”
(Encore) “Greatest Love Of All” / “Firework”

On Monday night, Kid Rock sat down for an eye-opening chat with Tucker Carlson, in which the rocker/dead ringer for Garth Algar from Wayne’s World dished on his 2017 field trip to the White House with Ted Nugent and Sarah Palin in tow. Kid shocked a lot of people when recalled how then-president Donald Trump solicited his advice on a very important matter: What he should do about NORTH KOREA! We repeat: The PRESIDENT asked the dude who thought “Bawitdaba da bang da bang diggy diggy diggy” was a decent lyric what he should do to safeguard our country from unhinged tyrant KIM JONG-UN. Like most of us, Jimmy Kimmel is having trouble processing this bombshell.

On Tuesday night, Kimmel shared a clip from the interview and tried to make sense of the events:

“We’re getting more details about what happened behind the scenes of Donald Trump’s presidency from Kid Rock of all people. Kid Rock sat down for an interview with Tucker Carlson last night. Tucker flew all the way to Nashville, I guess to try and get some second-hand testosterone in his blood. Kid Rock told him a crazy story about a visit to the White House, during which he—Kid Rock—was asked to weigh in on the standoff with Kim Jong-un.”

Fortunately, Kid Rock seemed to recognize the ridiculousness of the situation when he told Carlson how they were “looking at maps and sh** and I’m like, ‘Am I supposed to be in on this sh**? I make dirty records sometimes. What the f*** am I doing here?’”

Which is when Carlson did that super-exaggerated laugh that people do when they’re super uncomfortable and don’t know how to react.

The rocker then let it slip that Trump asked him, “What do you think we should do about North Korea,” which sort of took him aback. “I don’t think I’m qualified to answer that,” was Kid Rock’s assessment of the situation, in the understatement of the century.

“Yeah, no, you’re definitely not,” Kimmel agreed, adding: “For about two minutes, Kid Rock was our secretary of defense.”

But beyond the surrealness of the president asking the man who sang “You Never Met a Motherf***er Quite Like Me” how to deal with a possible nuclear attack, Kimmel was even more shocked by Carlson’s nonstop giggling, noting that “Tucker was so excited to be with a rock star, he was laughing like seal with a mouthful of sardine penises.”

You can watch the full clip above.

After receiving possibly too much attention over the last few months due to the Netflix drama series Inventing Anna, the Soho Scammer Anna Delvey may be back to her scamming ways. Delvey (real name Anna Sorokin) has been in ICE custody but that hasn’t stopped her from getting a book deal, an upcoming TV show, and now, a solo art show.

The former socialite has been sketching original pieces while in jail, which she intends to sell for $10K each. These pieces include comics of Delvey reading about herself in newspapers while wearing designer clothes, and sitting on “ICE” which is a great pun, honestly.

Last week, a Free Anna Delvey art show was put on in New York and for some reason was a huge success. Delvey hopes to continue the momentum and invite A-listers to purchase her pieces. Chris Martine, who handles the art sales for Delvey while she is behind bars, insists that “the solo show will be more guest list focused with a celebrity clientele as opposed to the grittier group show.” So VIP!

Delvey has been in prison for nearly four years and recently contracted COVID-19, and is currently facing deportation back to Germany. Maybe they will want her sketches over there instead.

Reports began circulating on Wednesday morning that Tyreek Hill‘s time with the Kansas City Chiefs could be coming to an end. The two sides reportedly could not come to terms on a contract extension for the All-Pro pass catcher, and as a result, trade rumors began to circulate with two teams coming to the forefront: the Miami Dolphins and the New York Jets.

It was reported that both teams made offers for Hill, and it was up to him to decide where he wanted to end up. Ultimately, Miami was able to get the job done, parting ways with a package of picks to give Tua Tagovailoa a dangerous option in the passing game.

Hill has only played for the Chiefs in his NFL career, but has been among the league’s most dangerous players in the open field. Last year, Hill a career-high 111 balls for 1,239 yards with nine touchdowns.

The trade does present some issues for Kansas City in its wide receiver room. The team signed JuJu Smith-Schuster in free agency, still has Mecole Hardman, and of course, Travis Kelce is perhaps the most dangerous tight end in football. Perhaps the team can turn to the NFL Draft, which has a very, very good class of pass catchers, to add some reinforcements.

Following a slew of dreamy, poppy singles from their upcoming album Forgiveness, including the Los Angeles love letter “Dragging My Life Into A Dream,” Girlpool has another soft jam on their hands. On their latest, “Nothing Gives Me Pleasure,” Girlpool’s Harmony Tividad searches for joy within herself after feeling unrequited love.

The song’s video, directed by Aerin Moreno, takes both Tividad and her bandmate Avery Tucker through a debauched night filled with vibrant make up and prosthetics, pole dancers, and make-out sessions in a swimming pool.

“‘Nothing Gives Me Pleasure’ is about trying to love yourself when it feels like no one else will,” said Tividad in a statement. “It was written during a time when I was working so hard to get someone specific to love and recognize me. On the path to doing that, I diluted myself so much that I lost sight of my own needs. This video plays with the lengths we go to feel loved and how so many faces of intimacy may disguise what love actually looks like to us specifically. I have a history of getting lost in the labyrinth in the struggle for affection. In this video, I wanted to interface with my own patterns in the attempt to better see and love myself.”

Check out “Nothing Gives Me Pleasure” above.

Forgiveness is out 4/19 via Anti- Records. Pre-save it here.

Genre-bending singer Harry Styles is releasing his first album in three years, Harry’s House. Styles made the announcement with a teaser trailer revealing the album’s title and release date, May 20.

Harry’s House will be the singer’s third album and the follow-up to 2019’s Fine Line, which contained the smash hit “Watermelon Sugar,” debuted at No. 1 on the Billboard Hot 100, and won the 2021 Grammy Award for Best Pop Solo Performance, as well as a 2020 Brit Award for British Single Of The Year for “Watermelon Sugar.” The album also broke the record for the biggest debut from a British male artist since Nielsen SoundScan began, coming in a hair under 500,000 album-equivalent units in its first week. The project was supported by the Love On Tour after the original tour was postponed due to COVID-19; the tour raised $1 over million for charity.

The release date for Harry’s House is just about a month after Styles’ upcoming headlining performance at Coachella Valley Music And Arts Festival, which could mean that his set will include songs from the new album in addition to fan favorites like “Sign Of The Times” and “Watermelon Sugar.”

Watch the trailer for Harry’s House above.

Harry’s House is due 5/20 via Columbia Records. Pre-save it here.

This post is being updated.