When it was first announced Oscar Isaac would be plying the lead in the Disney+ streaming series Moon Knight, I’ll admit, I was a little perplexed. Look, I like Moon Knight well enough. I wouldn’t call myself a Moon Knight aficionado, but I do own Moon Knight #1. (But, sadly, not his first appearance in Werewolf by Night, which, if you happen to now own, congrats, you are a rich person.) I was perplexed because Oscar Isaac seems like an actor who can kind of do anything he wants at this point, but also seems to wind up in a lot of stuff that doesn’t take full use of his talents. Remember, he’s been in Marvel properties before, unrecognizable as Apocalypse in X-Men: Apocalypse. A movie where they had hired one of the most charming actors of a generation to kind of grunt stoically for two hours. It’s still baffling. It’s clear early on in Moon Knight that this is the opposite of X-Men: Apocalypse. Moon Knight truly is the Oscar Isaac Power Hour.
So much of Moon Knight rests on Isaac’s shoulders as he, by sheer force of will, transforms what could have easily been a very confusing, disjointed show into something truly remarkable. In other words: Oscar Isaac is going for it. And, at least in the first four episodes, he doesn’t just go for it, he gets there. It now makes total sense why Isaac wanted to play Moon Knight. Isaac hasn’t been allowed to be this good since Inside Llewyn Davis.
To be fair, even with Isaac being a force of nature, the plot is still tricky to explain. It doesn’t necessarily feel confusing while watching it – well, some parts are, by design; I’ll get to that – but anytime I try to write what the plot is, or say it out loud it, I sound like a crazy person. Anyway, let’s try. So, Isaac plays Steven, a mild mannered man with a high pitched British accent who works in a museum gift shop. Unfortunately for Steven, when he’s sleeping, he’s prone to losing control of his body and waking up in very strange places, not having any clue how he got there. Oh, and when he looks in the mirror he see’s a different version of himself, named Mark, and Mark is usually very unhappy with Steven. Oh yes and sometimes Mark has complete control over the body, something that gets more and more prominent as the series goes on. And an Egyptian god, voiced by F. Murray Abraham, follows him around and is also usually annoyed with Steven. And I almost forgot, sometimes where there’s a lot of danger, he turns into Moon Knight.
Now, Moon Knight himself isn’t a third identity, no more than Batman is still Bruce Wayne under the cape. It’s a fancy suit that just magically appears and offers protection. But, sometimes Steven is Moon Knight (he’s very new at this aspect of his life) and mostly Mark is Moon Knight. When Mark is Moon Knight, he’s wearing a cape. When it’s Steven he’s wearing a suit and tie. See, just re-reading all this, it’s a miracle this show works. (It does.) I think one of the nifty tricks of Moon Knight is long stretches of exposition can just be skipped because Steven “blacked out.” And his confusion mirrors our confusion, while saving us from something dull.
Ethan Hawke plays Arthur Harrow, a man obsessed with awakening a new god that will bring doom. Steven, unbeknownst to himself at the time, has information that can lead to the location of this god, setting off a globetrotting trip that people will compare to Raiders of the Lost Ark, but feels more like The Mummy from 1999 (If there’s any doubt, I mean that as a compliment). As the episodes go on, Steven and Mark get more pronounced in their determination to stay in control. But, also, they each realize their own weaknesses and give up control to the other when their life depends on it. Steven and Mark are joined in this adventure by Layla (May Calamawy), Mark’s ex-wife. After some confusion over the existence of Steven at all, Layla starts to like Steven as her relationship with Mark becomes more and more complicated.
I’ve enjoyed the Marvel Disney+ shows to date, with more enthusiasm for some over the others. But Moon Knight is the first to feel like its own thing. The other have a sense of, well, here’s what happened between the movies. And look, those were pretty fun. And let Marvel deal with some complicated plot points, like variants, that would be difficult to explain in a couple lines of exposition. But Moon Knight doesn’t feel like that. And yes, for people who watch the MCU to see how things all feel connected in the bigger universe, this show doesn’t seem to care about that at all. So those people might be disappointed, but I found it refreshing. Plus, there’s so much already going on in Moon Knight, there was no part of me thinking, “I wonder what Thor is doing.”
Again, Moon Knight lives or dies with its star. An actor even slightly less engaged with this material would be a disaster. But that is not the case with Oscar Isaac. He saw a project that would allow him not to chew scenery, but go ahead and eat that scenery then wash it down with a tasty Mello Yello. Again, Oscar Isaac is going for it. And drags us along with him to our benefit. Moon Knight truly is The Oscar Isaac Power Hour we’ve all been waiting for.
At this year’s Academy Awards, Questlove got the Oscar for Best Documentary Feature, for Summer Of Soul (…Or, When The Revolution Could Not Be Televised). That was the biggest moment of his night, but the main takeaway of the event more broadly happened immediately before, when Chris Rock, who was on stage to present the documentary award, got slapped by Will Smith. Now, it seems Questlove confirmed that while giving his acceptance speech, he was (understandably) thrown off by what happened just moments earlier.
Yesterday, a Twitter user wrote, “I think the whole Will Smith assault rattled @questlove who had to give a speech like 90 seconds later. He couldn’t even remember the names of his co-winners. #Oscars.” Questlove responded with just an emoji of a fax machine. Emojipedia notes the fax machine emoji is “sometimes used in emoji form as an alternative to the words ‘facts,’ due to the similarity of pronunciation.” So, based on Questlove’s usage of it, it looks like he’s confirming he was indeed rattled while giving his speech.
Meanwhile, before sending that tweet, Questlove talked about the win on The Tonight Show yesterday, with neither him nor Jimmy Fallon directly mentioning Smith or Rock.
(Fallon tip-toed around the incident during his opening monologue but didn’t name any names there, either. Once he got back to his desk, though, he did note in passing while talking about this year’s ceremony, “The Will/Chris thing, I was just bummed, disturbed, I wish it didn’t happen.”)
Questlove told Fallon he was meditating during the commercial break before the award was presented. He also noted, “I realized that that was a real moment, like, maybe three seconds before I spoke words. In my mind, they’re just doing a sketch or whatever and I’m just like, ‘OK Ahmir, remember to thank your mom, your dad, thank Tariq [Trotter, aka Black Thought of The Roots]…’ So I was not present at all. I was just in a blank slate.”
Jimmy Kimmel knows a thing or two about moments at the Oscars that seem like bits at first, but turn out to be real. In the year he hosted, it was La La Land producer Jordan Horowitz saying, “There’s a mistake. Moonlight, you guys won Best Picture. This is not a joke.” On Sunday, it was Will Smith approaching the stage while Chris Rock was presenting the award for Best Documentary Feature, and slapping him. In the Moonlight year, Kimmel responded to the mix-up by trying to get Warren Beatty to stop talking (good ideal). How would he have handled what happened with Smith and Rock?
“A lot of my friends have been texting me asking what I would have done if I had been on stage,” Kimmel said during Monday’s episode of Jimmy Kimmel Live. “I would have run is what I would have done. The second I saw Will Smith get up out of the seat, I’d have been half way to the Wetzel’s Pretzels, enjoying the samples in front of the store.”
Kimmel also praised Rock for handling the slap “about as well as you could possibly handle being slapped on stage at the Oscars. He didn’t even flinch… I would’ve been crying so hard. No one did anything. Nobody lifted a finger. Spider-Man was there. Aquaman was there. Catwoman, all sitting on their hands. Nobody helped Chris Rock.”
These days, everyone from brands, to massive events, to Roc Nation themselves are hoping Megan Thee Stallion will come through for them. The ever-popular, overly-sexual female rapper has been making a name for herself not just in hip-hop, but as a cultural force, and nothing could’ve made that more clear than her surprise performance at the Oscars last night. As more predictable, previously announced performers like Beyonce and Billie Eilish were already on the docket, viewers were definitely surprised when Megan joined in with the Encanto performance of “We Don’t Talk About Bruno” for the evening, adding an Oscar-ready rap verse to the already cultish hit.
But her verse at the Academy Awards annual gala was important and historical for a completely different reason, too. Apparently, it was the first time a female rapper has ever performed at the event. Taken in that context, Megan’s invitation to spice up “Bruno” hits on a whole new level. Megan was reflecting on the milestone last night after the show, and though plenty of people were lost in the drama of Will Smith and Chris Rock, the Hotties were definitely celebrating Megan’s success with her. “I literally was just in Puerto Rico less than 24 hrs ago performing, my dress had just came in last night from India, and that was thee FIRST FEMALE RAP PERFORMANCE at the OSCARS ever ! Im definitely in grind mode,” she wrote, and I’d have to agree.
I literally was just in Puerto Rico less than 24 hrs ago performing, my dress had just came in last night from India, and that was thee FIRST FEMALE RAP PERFORMANCE at the OSCARS ever ! Im definitely in grind mode
Miley Cyrus has been through a lot of ups and downs in her life. That kind of comes with the territory of being a child star, as we’ve seen time and again with artists and performers who grow up in the spotlight. But now that she’s in her Plastic Hearts era, and staying true to her rock impulses, it’s easy to forget that just a few years ago, Miley was floundering. At the time, she’d rekindled her relationship with former longterm boyfriend, Liam Hemsworth, and the pair even tied the knot in a quiet family ceremony in late 2018.
Of course, it was one of the most short-lived marriages we’ve seen in the pop world for a minute, as the couple announced their divorce just a few months later in the summer of 2019. Hey, at least we got “Slide Away” out of it. Anyway, due to her own history with marriage, Miley wasn’t necessarily the best person for a newly-engaged couple to celebrate with, though some of her fans in Brazil did hop onstage at Lollapalooza and get engaged. Obviously, Miley was supportive of the romantic moment, but ended her interaction with them by wishing them better luck than she had: “Honey, I hope your marriage goes better than mine,” she told the man proposing to his boyfriend. “Mine was a f*cking disaster.” Check out the clip below.
It’s Latto’s world, we’re just living in it. What could make a hyperbolic statement like that more true than working with a legend like Mariah Carey? Ever since she released “Big Energy,” Latto has had a kind of energy behind her that far outpaces her popularity with the hip-hop crowd — this is a bonafide R&B/pop hit. So it only makes sense that after a few weeks of teasing the “Big Energy” remix feature, it’d turn out to be none other than Mimi herself.
Since Latto’s fans are just as thrilled about her working with an icon as she is, a mini Q&A about the process erupted on Twitter last night when the song was released at midnight. Sure, plenty of people were still focused on Will Smith’s altercation with Chris Rock at the Oscars, but Latto had fans had their priorities right: Asking the Atlanta rapper what the best part of working with Mimi herself was.
I was sooooo nervous I was like what do I say y’all lol but the conversation just floweddd she was so genuine and I definitely was overthinking. We was sipping on her liquor Black Irish & just kicking it fr #BigEnergyRemixhttps://t.co/7dVRmadaCJ
The best part? Latto’s all caps response: “HEARING HER HIT THAT HIGH NOTE IN PERSON!!!!”
As far as how the session went down, and what it was like meeting Mariah, Latto said she eventually got over her nerves because Mariah was “so genuine.” “I was sooooo nervous I was like what I say y’all lol but the conversation just floweddd she was so genuine and I definitely was overthinking,” the rapper wrote on Twitter. “We was sipping on her liquor Black Irish & just kicking it fr.”
After the pair first announced their breakup in November, Mendes quickly followed the news up with a new single, the tender but hopeful “It’ll Be Okay.” Then, it was Camila season, as she was busy announcing the release of her third album, Familia, and sharing the Ed Sheeran collab, “Bam Bam.” That project will come out in just a few days, on April 8, but in the meantime, Shawn is back to teasing his own new music.
Though he’s already alluded to his next single, “When You’re Gone,” before, tonight he shared an actual clip of the song, along with a cute video of himself moondancing to it — or, well, attempting to moondance to it. Surprisingly, given the subject matter, the song sounds pretty upbeat. Check out the snippet below and look for this new single dropping on March 31.
Top-seed NC State and 2-seed UConn met on Monday night in Bridgeport, CT for an Elite Eight matchup that became an instant classic, as the first time in women’s tournament history that a game in the Elite Eight or later needed double overtime to decide things.
It was a tense, tight game throughout as both teams traded blows and runs, and in the fourth quarter each team held small leads — NC State’s 4-point advantage was the biggest of the final quarter — in what was a sensational battle.
Defense carried both teams down the stretch, as Elissa Cunane’s layup to tie the game at 61-61 with just over a minute to go was the final score of regulation. Olivia Nelson-Ododa missed a pair of go-ahead free throws with just under 30 seconds to go, and on the other end, the Wolfpack dribbled the clock down to inside 6 seconds before starting a play, which ended in a contested Kai Crutchfield three from well beyond the arc that missed everything, sending the game to overtime.
In the first overtime period both offenses came alive in a shot-making display that was nothing short of sensational. Both teams found big buckets and after scratchy free throw shooting in regulation, were lights out in the extra frame. Ultimately, UConn found itself up three after a pair of Paige Bueckers free throws with six seconds to play, and NC State called a timeout to draw up a three-pointer to tie.
Raina Perez took the inbounds pass and waited for Jakia Brown-Turner to go from where she inbounded on the sideline to the right corner and flung a perfect pass over the Huskies defense to set up an incredible game-tying three.
After the pandemonium of that moment, it was a matter of who would be able to settle themselves down in double overtime, and it was UConn that took control immediately thanks to a pair of buckets from Bueckers. The Paige barrage came first on a top of the key three and then on an elbow pull-up, both times taking advantage of NC State going under the screener.
The Huskies would hold onto the lead throughout double overtime despite the best efforts of the Wolfpack, who kept things close thanks to timely buckets from Crutchfield and Cunane, but could never get the string of stops and scores they needed to seize control from the Huskies. Every time NC State cut the lead to one possession, UConn had the answer, like this Aaliyah Edwards putback.
Eventually, UConn had the ball and advanced it up the floor with 10 seconds to play (with NC State also questionably burning their last timeout), and the Wolfpack seemed desperate not to foul Azzi Fudd, which allowed the Huskies to put the game on ice with two quick passes to set up Christyn Williams at the rim.
It was a sensational performance from UConn’s stars, as Fudd had 19 points, Williams had 21, and Bueckers led all scorers with 27 thanks to her overtime takeover. On the other side, Cunane had 18 points and nine boards, Brown-Turner had 20 points, eight boards, and five assists, and three others reached double figures, but it just wasn’t quite enough for NC State to reach the Final Four.
The Huskies will make a familiar trip to Minneapolis for the festivities where they’ll play Stanford in the national semifinal in another heavyweight matchup.
Yes, paying $150 for a bottle of bourbon whiskey is a little wild. You can easily get a case of perfectly fine bourbon for that price. But that’s not really the point. Whiskey at this price point isn’t about practicality. This is about finding something unique, limited, and maybe even collectible.
For this ranking, I reached into my tasting notes and pulled out ten bottles of bourbon whiskey that I think are actually worth spending a little extra cash on. These bottles are special — from top to bottom. I still ranked them though, according to my palate and how quick I’d be to throw down this amount of money on them. Look at it this way, I keep the top five bottles open on my own shelf. The rest are all bottles I respect and would never turn down a pour of but am not going to go out of my way to collect. That said, maybe the tasting notes will speak to you — we all have different palates.
These are all pretty easy to find (if not afford) if you’re willing to do some sleuthing around whiskey shops and online. Let’s dive in!
Also Read: The Top 5 UPROXX Bourbon Posts Of The Last Six Months
This release from Diageo’s Orphan Barrel program is from Cascade Hollow Distilling Co., better known as George Dickel. The juice is a marrying of two 16-year-old bourbon barrels that were hand-selected by Dickel Master Distiller Nicole Austin. The ABVs are very low for a “barrel-proof” bourbon.
Tasting Notes:
This opens with a hint of buttery cornbread that immediately veers into cinnamon apple crackers in an old leather tobacco pouch. There’s a mild sense of eggnog spices next to vanilla cream with a clear note of old, musty cellar beams leading back to that warm tobacco chew.
Bottom Line:
This is one of those bottles that’s both “nice” and unique. This is a one-off, so there is a small collectibility factor at play (but don’t that price to skyrocket anytime soon). Overall, this is just an easy pour of something we might not ever see again.
This is a fascinating mix of sourced bourbon and good marketing. At seven years, it’s pretty young for such a pricy bourbon. The juice is hand-selected barrels that meet the specific taste and texture requirements of Saint Cloud’s team. That whiskey is then bottled at barrel strength with no other fussing, giving you a single barrel experience that’s one-of-a-kind.
Tasting Notes:
You’re drawn in with a white cake slathered in buttery vanilla frosting next to a salted caramel waxy wrapper vibe. The palate is subtle, with hints of darkly roasted coffee beans covered in equally dark chocolate next to marzipan, light spices, and a touch of soft and maybe wet cedar. The end holds onto the spices (think clove and cinnamon) as a touch of dried apricot and dried cedar slowly fades towards a velvet-yet-warming end.
Bottom Line:
There’s a classic sense of barrel aging, buttery sweetness, and stone fruit at play. While this works as a great sipper (especially on a rock), it really feels more like a great cocktail base for a Manhattan than anything else.
This whiskey is part of the bespoke sourced line from bourbon legend Jim Rutledge. Rutledge spent 21 years as the head distiller over at Four Roses, building the worldwide renown that the brand is now known for today. Rutledge is currently sourcing the best barrels he can find to create this throwback brand of whiskey — its labels used to be painted by Norman Rockwell back in the day.
Tasting Notes:
You feel the deep bourbon heritage from the nose through the finish as classic notes of oily vanilla husks, soft cedar, and rich toffee draw you in. The taste holds onto the toffee and vanilla but also veers into sweet cherry with a rush of spice, which is almost like a Cherry Dr. Pepper in the best possible way. A note of bitterness comes in late via a dark chocolate vibe (especially with a drop or two of water) while the silken sip quickly (almost too quickly) fades, leaving you with warm and woody spices.
Bottom Line:
Again, this is classic. But not much more. If you’re looking for a great, old-school bourbon, grab this. Jim Rutledge will not let you down.
Kentucky Owl is another resurrection brand by Master Blender Dixon Dedman (who has since left the brand), the great-great-grandson of the shingle’s original founder. Yes, this is sourced juice from an undisclosed distillery in Kentucky, meaning we don’t know a whole lot of what’s in the bottle, but that leaves the family story and the taste of the whiskey as our only touchstones. And on those two levels, this expression excels.
Tasting Notes:
The sip draws you in with a slight rye note of anise and maybe even licorice next to old cellar oak, vanilla cream, and a touch of ripe cherry. The taste warms on the tongue with dark spices, more of that old oak, and a touch of raw leather. The end is long and touches back on those spices, building a real buzzing on your senses, and hitting back towards that oak and leather, with just a hint of cherry tobacco.
Bottom Line:
The spice and cherry at play on this are very engaging. That said, this feels like it’s more of a cocktail base for a killer Manhattan, Sazerac, or old fashioned.
This limited release is a blend of heavy-hitting bourbons. The lion’s share, 68 percent, is derived from an eleven-year-old Kentucky bourbon that’s made with 75 percent corn, 13 percent rye, and 12 percent malted barley. Another 16 percent comes from a 17-year-old Tennessee whiskey that’s made with 84 percent corn, eight percent rye, and eight percent malted barley. The final 16 percent is a seven-year-old Indiana bourbon made with 75 percent corn, 21 percent rye, and four perfect malted barley.
Tasting Notes:
The age comes through with a big medley of dark cherries sitting in a big cedar bowl with a dark leather jacket imbued with decades of cigarette smoke and perfume next to a hint of dark chocolate orange balls. That orange and dark chocolate drive the taste as the dark cherry becomes brandy-soaked and the cedar feels more like an old cigar humidor full of cigars laced with vanilla, orange, cherry, and chocolate individually, creating a bigger whole on the palate. The finish takes its time as the tobacco spice and fruit slowly fade out, leaving you with a dry woody note and a touch of sweet and buttery toffee.
Bottom Line:
This is a big whiskey with a far-ranging palate. There’s something for everyone in this whiskey. Though, I’d recommend pouring it over a single rock to mute the ABVs a touch and allow the water to let it bloom in the glass.
Weller 12 is lovingly referred to as the “Poorman’s Pappy” with good reason. Both whiskeys are made by Buffalo Trace with the same wheated bourbon mash bill. Of course, the barrels are treated differently when it comes to where they are stored and why. But we’re still talking about a very similar product at the end of the day, which also tends to be a bit more accessible, at least for now.
Tasting Notes:
This opens with a sense of vanilla pods coming to life in a hot pan next to light orange oil-infused marzipan, a touch of sweet corn, and a whisper of musty oak. The palate holds onto the orange and almond as it dries out towards a cedar box and vanilla tobacco chew with a mild sense of dry spices. The end is long-ish and touches on the wood, orange oils, spice, and nuttiness, leaving you warmed with that classic Kentucky Hug.
Bottom Line:
This is almost annoyingly easy to drink. You want to deny the hype around this bottle, but the flavor delivers. It’s so well-rounded that you’ll be hard-pressed to find any faults neat, on the rocks, or in a cocktail.
This sourced bourbon is built from eleven and 18-year-old bourbons. The real star of the show with this whiskey is that those bourbons were finished in Armagnac, Cognac, and sherry casks before vatting and bottling as-is.
Tasting Notes:
This opens with sticky toffee pudding that really amps up the cinnamon and nutmeg next to black-tea-soaked dates next to some stewed prunes wrapped in chili-chocolate-laced tobacco leaves and dripped in honey and then walnuts. A savory fruitiness opens the palate with figs and pumpkin that leads towards an apricot jam with a hint of clove and cinnamon next to light touches of old library leather and funk. A faint hint of dark berries arrives on the mid-palate before the finish luxuriates in burnt toffee, almond shells, more of that leather, and dried-out apricots.
Bottom Line:
This wins big points for going somewhere bold and new in its flavor profile. It’s a killer neat pour that blooms beautifully with a little water or a rock in the glass. Take your time with this one, you’ll be rewarded for the effort.
This is a very rare release from Beam. The expression was first released in 2017 to celebrate the premium brand’s 25th anniversary. The juice is a single barrel that’s between 12 and 13 years old and barreled as cask strength with zero fuss.
Tasting Notes:
This is bourbon with a capital “B” from top to bottom, with a nose full of oily and rich vanilla next to salted and almost smoky caramel kettle corn, a hint of dry oak, and very mild cherry tobacco. That cherry tobacco carries the taste of holiday spices, creamy vanilla pudding, and an underbelly of buttery toffee. The end is long and amps up the spices towards Red Hots territory as the tobacco chew kicks up next to an almost cedar note, leaving you really buzzing on the tongue and across your senses.
Bottom Line:
This is quintessential “good stuff.” There are no rough edges on this bourbon. It’s just a soft and flavor ride from beginning to end. There’s also a small collectible factor at play with this one as well. But I’d argue, that these are meant to be enjoyed and not squirreled away in a vault.
This whiskey is hewn from 90 30-gallon barrels of four-year-old bourbon that were transferred into 26 59-gallon Tawny Port casks for a final maturation of nearly two years. That juice was then bottled with a touch of water added.
Tasting Notes:
The nose on this bursts with raspberry, blackberry, redcurrant, and blueberry, all stewed with plenty of holiday spices and folded into a cobbler topped with dense buttery buttermilk biscuits. The palate leans into the spice with a focus on clove, nutmeg, and a very small whisper of anise as the berry turns more towards a fresh strawberry with dark chocolate-covered espresso beans chiming in on the mid-palate. That chocolate-bitter vibe drives towards a finish full of cinnamon-spiked dark chocolate tobacco leaves, stewed plums, and a dollop of floral honey.
Bottom Line:
This is a berry bomb that works wonders. This is also a bottle that’ll be hard not to kill as soon as you open it with a few friends — it’s that good.
The whiskey is around five to six years old and comes from one barrel that lets the grains shine through before it goes into another barrel that lets the oak shine through. That final barrel is bottled at cask strength, as is.
Tasting Notes:
This opens with a nose full of salted butter next to hints of very soft leather, light notes of vanilla bean, a touch of toffee sweetness, and freshly cracked walnuts with a dry edge. The taste leans into that oak barrel with dashes of woody spices (think allspice berries, star anise, and cinnamon sticks), dry cherry tobacco leaves, salted caramel, and more of that super soft leather. That leads towards a mid-palate of dark red fruits stewed in mulled wine spices and cut with a dollop of fresh honey before the (long) finish dries out towards an old wicker chair, a very distinct hint of a cellar funk, and a touch of dried mint.
Bottom Line:
This feels both classic and unique while offering a warming comfort. All of those are nice things to get from a sip of bourbon. Overall, this is the most solid sipper on the list with the most refined depth. It’s really hard not to fall in love with this one.
The Cleveland Cavaliers are already without Jarrett Allen due to a broken finger, and they may now be without star rookie Evan Mobley too.
During the second quarter of the Cavs’ Monday night home against the Orlando Magic, Mobley landed on Orlando’s Franz Wagner and rolled his left ankle. He immediately say down on the floor and went back to the locker room with the Cavs’ medical staff. At half time, the team ruled him out for the remainder of the game with a left ankle sprain.
Evan Mobley walks to the locker room after suffering a scary looking ankle roll. pic.twitter.com/HZteTt7kzt
— Bally Sports Cleveland (@BallySportsCLE) March 28, 2022
Kevin Love started the second half in Mobley’s place and Moses Brown, signed to a 10-day deal with Cleveland, also saw minutes with Mobley out. At the time of his injury, Mobley had scored 6 points to go along with 3 rebounds and 1 assist in 13 minutes.
If Mobley is out beyond the rest of this game, it will be a significant deal for the Cavs as they look to finish among the Eastern Conference’s top-six and out of the play-in tournament. With Allen also out, the Cavs would be without the two players who form the backbone of their defense that has been the team’s identity this season. As a result, their odds of avoiding the play-in tournament would take a significant hit if Mobley’s injury is serious. Cleveland entered Monday night as the seventh seed in the East, a game behind the Toronto Raptors, with just eight games left for each team.
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(@Latto) 
I was like what do I say y’all lol but the conversation just floweddd she was so genuine and I definitely was overthinking. We was sipping on her liquor Black Irish & just kicking it fr 
Aaliyah Edwards for a CLUTCH overtime basket! 
