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Let’s hope that the next generation of up-and-coming rappers is learning from the mistakes of their predecessors and reading those contracts (let’s be real, they probably aren’t). With the rise of social media and music blogs, more and more artists’ struggles with their record labels are coming to light lately; Meek Mill, Megan Thee Stallion, and Rowdy Rebel have all had widely publicized falling outs with their respective labels and they’re all far from the only ones.

Lest anyone think that it’s only major label artists who can find themselves in unfavorable contracts, Conway The Machine recently revealed that even his deal with indie label Griselda Records — which was founded by his blood brother Westside Gunn — was tilted more toward Griselda’s benefit than his own. During his recent appearance on The Breakfast Club to promote God Don’t Make Mistakes, Conway stressed the importance of thoroughly reviewing all the terms of a label deal.

“I’mma keep it a buck,” he admitted. “I didn’t even read that contract, bro. I didn’t read that shi*t. I just signed that sh*t and moved on. Unfortunately, the contract wasn’t in my favor. So now, going forward, it’s time to redo all that. I gotta make sure it’s in my favor now.”

While he didn’t elaborate on which terms he took issue with, he did say that while he feels he “didn’t get no money” after signing the deal with Griselda, Interscope, and Shady Records, he intends to work something out with Gunn. Now that he’s turned in his third and final album under the deal he said he’s contractually finished with both Griselda​​​​​​​​​​​​​​ and Shady Records. “It’s free agency right now,” he declared. “I need that supermax. I need that Giannis bag.” If I have anything to add, it’s that I hope he’s got a good lawyer and a better understanding of how most recording contracts work because it’d be a shame if he didn’t get a better deal the next time around — or better yet, stay independent.

You can watch Conway’s full interview above.

Ahead of the release of her upcoming debut EP, A Study Of The Human Experience, Vol. 1, GAYLE stopped by The Late Late Show to perform her latest single, “Ur Just Horny.”

During her performance of the explosive follow-up to her viral hit “ABCDEFU” — which has since peaked at No. 3 on the Billboard Hot 100 chart — GAYLE was in rockstar mode, rocking a guitar and strumming along as she sang to a cheering crowd.

“You don’t wanna be friends, you’re just horny,” she sings in her pop-rock-influenced track.

In an interview with Rolling Stone, the Plano, Texas native said she wrote “Ur Just Horny” about a friend who began treating her differently after they became intimate. “I thought I was the one at fault,” she said. “Like, ‘F*ck, I really f*cked up our friendship. ‘But then I realized, ‘No. They were trying to get into my pants the whole entire time: That was their goal. They never cared in the first place. Maybe I’m not completely the problem.’”

Check out the performance above.

A Study Of The Human Experience, Vol. 1 is out 3/18 via Atlantic. Pre-save it here.

GAYLE is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Over the past month, the world has watched while Ukrainian President Zelensky has heroically risen to the occasion after refusing a ride out of his war-torn country. Russian troops continue their invasion while a real-life horror movie unfolds by the hour, and given that Zelensky’s a former comedian/satirist/actor (many consider him to be a Jon Stewart of sorts), people sitting helplessly by at home would like to soak in some of his better days. To that end, his previous 2015 TV series, Servant of the People, is finally available to stream in the U.S.

The question of when this day would come (given that the show has been sliding up the global charts over the past few weeks) was a prominent inquiry, and the streaming platform has abided. The U.S. market, however, proved to be a little trickier (possibly because of rights), but Netflix has apparently come out of that bidding exchange in a victorious (and renewed) way.

“You asked and it’s back!” the streamer tweeted. “The 2015 satirical comedy series stars Volodymyr Zelenskyy playing a teacher who unexpectedly becomes President after a video of him complaining about corruption suddenly goes viral.

As The Hollywood Reporter previously relayed, the series sort-of snowballed into Zelensky’s political ambitions in real life. He subsequently channeled the popularity of this series into a political party (also named Servant of the People) and eventually ran for Ukrainian president with a 2019 landslide victory. His continued journey and bravery in the face of unspeakable atrocities can be an inspiration to us all, so let the streaming begin.

Those who live in areas with clear night skies understand the impact of star-gazing. It puts into perspective just how small we are in the grand scheme of things — a thought that can be both terrifying and invigorating. LA-based musician Celeste Tauchar, who makes music under the moniker Talker, knows this feeling all too well. Tauchar is inspired by her own insignificance and uses the feeling to re-examine what’s really important on her upcoming eight-track EP In Awe Of Insignificance.

After making music in various projects for years and touring with the electro-pop group FRENSHIP, Tauchar decided to develop a solo sound. Tauchar’s upcoming EP was the result of intentional vulnerability, something she couldn’t have done without the encouragement of her community. Throughout eight tracks, the singer delicately explores themes of mental health and self-growth over cascading guitars and disco-inspired beats.

Ahead of the release of In Awe Of Insignificance, Tauchar sat down with Uproxx to discuss musicians who inspired her music, her best concert experience, and her love of pirozhkis in the latest Indie Mixtape Q&A.

What are four words you would use to describe your music?

Catharsis, glitter, sunsets, intimacy.

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?

I hope this isn’t too unrealistic of a prediction! I want my music to be remembered (and viewed) as the manifestation of my inner world. Everything is intentional, from the soundscapes to the visuals to the way I describe it. I try to view it as one big art project cause that makes it more fun for me and I hope people can view it with that lens as well.

What’s your favorite city in the world to perform?

I love performing in Seattle, I’ve never had a bad night there. Also, I got to perform in Madrid while touring with FRENSHIP a few years ago and it was one of my favorite performance experiences as well — a crowd I still haven’t forgotten and I really hope to get back there with Talker.

Who’s the person who has most inspired your work, and why?

I really don’t think there’s one person who has single-handedly most inspired my work. Especially because I think that it has shifted depending on where I’m at in life. So I’m gonna be a brat and give you a few: Ben Gibbard from Death Cab For Cutie has had one of the biggest influences on my songwriting and I think he has really influenced my approach to narrative and visual tools in songwriting. David Byrne and Talking Heads have had a huge impact on my love for the weird and learning to take risks and pursue the theatrical — something that I was afraid to do when I started this project and have really opened myself up to more on this record. And Mitksi is the last one I’ll name here for now. I think there are obvious comparisons you can make, but in particular, seeing her live in 2019 reignited a desire in me that I had lost for a while. She was such an incredible performer, there were props, there was dance, and it was such a great reminder that regardless of genre you can be big and bold and make it something bigger.

Where did you eat the best meal of your life?

Dishoom in London. It’s possibly a bit overrated but it’s also just really good. And there are others but I can’t remember their names!

What album do you know every word to?

The Jonas Brothers’ self-titled album. It will never leave my brain.

What was the best concert you’ve ever attended?

Okay please don’t judge me but I saw The 1975 at the O2 in London like five years ago when they were recording their live album. It was so magical because I happened to have an overnight layover in London on my way to visiting family in Germany so I got tickets and took the subway straight from Heathrow to the arena and then just kind of found myself there by myself taking it all in. It was also a great show but it was just kind of this wild jet-setting solo traveling experience.

What is the best outfit for performing and why?

I love a crop top and wide-leg high-waisted pants. It makes me feel really good about myself but I can also run around and kick my legs in the air and throw myself on the ground without worrying that people can see up my clothes.

Who’s your favorite person to follow on Twitter and/or Instagram?

I follow this account on Instagram called artworkunity and it’s my favorite thing ever. I get so stressed out looking at social media. I try to avoid looking at it in the middle of the day. But I love this account because it’s just like videos of people creating really incredible and soothing art pieces.

What’s your most frequently played song in the van on tour?

My drummer JR loves Madonna and really got me into her on one of our tours. I don’t know about a specific song but she funny enough might be one of the artists I’ve listened to the most in the van.

What’s the last thing you Googled?

“Who were the beat poets.” LOL. I’m currently reading On The Road and wanted a comprehensive list of everyone that culture considers “beat” just to see who was on there.

What album makes for the perfect gift?

Any classic. For me, it would be The Beatles White Album or Queen’s A Night At The Opera.

Where’s the weirdest place you’ve ever crashed while on tour?

One time I was playing in Orlando and our tour manager at the time booked us an Airbnb. When we got there, what was supposed to be enough beds for 6 adults turned out to be a bunch of twin beds with Disney sheets. The guys’ feet were all sticking out past the end of the bed. And I vividly remember finding a bunch of corn nuts in the couch. I try not to think about it.

What’s the story behind your first or favorite tattoo?

I love all of them. But my favorite is probably my moon phases tattoo on my left arm. It’s super simple but it’s in a style I love, based on María Medem’s art, and serves as a reminder to me to move with the changing tides instead of trying to fight against it. It’s also my biggest tattoo so it kind of broke this barrier for me — my prior ones were all in places I could easily hide them, but this one was like. Here it is! So now I feel more excited to get new, bigger pieces.

What artists keep you from flipping the channel on the radio?

I really don’t listen to the radio very much. I use it to tune everything out so I basically just listen to KJazz.

What’s the nicest thing anyone has ever done for you?

This is such a tough question because I don’t know that I’ve ever had some sort of extreme gesture — I’ve been lucky to not need any sort of grandiose thing in life. But there have been a lot of really amazing people in my life who have deeply impacted my trajectory and I wouldn’t be where I am without them. I have a group of incredibly supportive collaborators and friends who champion me, and those who have been further along in this industry than me at one point or another have always sent my music to people and pushed for me to get opportunities. My roommates and household throughout COVID really became more of a family than any normal roommate relationship. We really operate like family, from the good to the bad and the obligations and the joys. I don’t know that there’s one thing. But I feel really lucky with the people who have come into my life.

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

Don’t be so desperate and let everything just take its time.

What’s the last show you went to?

I saw Real Estate play “Days” in full for the album’s 10th anniversary in December. It’s kind of crazy ’cause that was like, right before everything got insane again and I can’t imagine being at a show that big right now.

What movie can you not resist watching when it’s on TV?

Anything with Hugh Grant.

What would you cook if Obama were coming to your house for dinner?

The same thing I would make for anyone else which is the one thing I consistently make any time I get to cook for someone: pirozhkis. They’re this Russian street food that’s kind of like a hot pocket but made from scratch and so so much better. My grandma has always made them for me cause I love them so much. I’m not sure where she got it from though because we’re not Russian, but I am obsessed with them.

In Awe Of Insignificance is out 3/25 via Wehearnoise Records. Pre-order it here.

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

It’s been a little more than a month since the Philadelphia 76ers and the Brooklyn Nets pulled off a blockbuster trade centered around Ben Simmons and James Harden. In that time, we’ve seen Harden suit up for Philly, while Simmons has been sidelined in Brooklyn as he deals with a lingering back issue.

Despite the fact that the Simmons saga went on for months and has been resolved for some time, Joel Embiid still is confused as to how we got to a point that Simmons determined his best path forward was never suiting up for the Sixers again. Embiid appeared on Draymond Green’s podcast and got asked about Simmons’ departure, and shot back after Green said that he “expressed your dismay with the situation, expressed ‘get him out of here,’ then.”

“I never said that, to get him out of there,” Embiid said at the 1:25 mark of the above video. “I just didn’t understand what was going on, honestly. I didn’t understand, like, what happened and what led to that whole situation. To this day, I don’t understand. Even when you look at — and I don’t have any problems with him, and like I said, obviously we didn’t win a championship together, but in the regular season, we were dominant. Every single season, 50-win seasons. I always believed that we had a chance to win together. I always believed it. Even to this day, I believe that we had a chance to win, and what we were able to accomplish, obviously winning matters the most but I feel like we had a chance, and that’s why I don’t understand what was going on, honestly, what caused him to want to leave. I understand his explanation, but a lot of things don’t make sense.”

Embiid had quite the reaction in the immediate aftermath of the trade, making clear that he was ready for the whole thing to come to an end. Throughout this season in the lead-up to the trade, Embiid expressed his desire for Simmons to come back, even if he, on a few occasions, spoke candidly about the situation.

In Deep Water, coming to Hulu this week, Ben Affleck’s wife won’t stop cuckolding him. Right in front of him, too, and seemingly with a new guy every week. Where does she find them? How does she find the time? She’s like the Tyler Durden of cuckoldry, setting up franchises while the rest of us are sleeping.

Ana De Armas plays Melinda, the wife, and sexy though she may be, you have to wonder what’s keeping her rich guy husband, Vic (Affleck), from leaving her. Sure, they have a daughter together, divorces are expensive, and custody battles can get ugly, but nothing is worth repeated humiliation like this, right?

Deep Water is a throwback in the best way. The tendency in 2022 would be to try to explain Melinda (assuming someone was bold enough to write her in the first place), to make the act of diagnosing why she is the way she is the whodunnit propelling the narrative — the old “trauma plot,” as it has come to be known in this age of ubiquitous armchair psychiatry. Deep Water, adapted from author Patricia Highsmith (The Talented Mr. Ripley and a million others) and directed by Adrian Lyne (Fatal Attraction, Indecent Proposal) — with a script adapted by Zach Helm and Sam Levinson — comes from the oldest of old hands at the “psychological erotic thriller” genre, and it shows.

To explain Melinda would be to soften her, to apologize for her. Far more interesting to focus on the dynamic between Melinda and Vic than on what made them this way. Sure, we get the occasional anecdotes about them, like that Melinda was kicked out of many different schools growing up, and that Vic invented a computer chip for use in drone warfare, but the central focus of Deep Water is on the tension between them. Which is to say, on what they actually do to get over on one another. If indeed that’s what they’re doing. What are they doing? What is their deal?

Neither of them are “likable,” in the traditional sense, more deliciously despicable. It’s always refreshing when filmmakers relegate the old “someone to root for” storytelling canard to the shitcan where it properly belongs. One of the most salient features of Deep Water is that it’s weird. It chucks dull, “relatable” situations out the window doing 90 on the way to provocative weirdness. Every new wrinkle creates a new angle for your brain to try to square with what we already know. Vic rides mountain bikes. Is that relevant? What about the fact that Vic raises snails? Does being a snailraiser predispose one to cuckolding, or is it some clue as to his motives? Maybe it’s a method of disposal?

In this age of frantically overplotted stories (partly due to the commercial reality of having to cram in as many heroes and villains as possible while fitting a movie into a broader outline; but I suspect also as a kind of screenwriter’s insecurity, undertaken with the belief that a confused viewer can’t be a bored one), Deep Water is judicious with what information it shares. And always in a way that feels purposeful. The key to a compelling story isn’t that it sounds like something you’ve heard before or that it’s true to your own experiences (zzzzz), it’s creating that bond between audience and storyteller, the faith that when the storyteller reveals a bit of information it’s going to be for a reason.

Vic boldly soldiers on, getting cuckolded again and again in ever more public situations in front of his extended friend group of New Orleans bon vivants, all the while fighting a one-man battle for his pride and peace of mind. Who’s going to break first? Where does Melinda keep finding new men? It’s a glorious plot contrivance that Vic is a retired rich guy and Melinda is his trophy wife — they literally have nothing better to do than play cat-and-mouse games with each other all day.

Deep Water is not a comedy by any means, but the dialogue is notably sharp, with multiple laugh-out-loud moments, and a solid supporting cast that includes Lil Rel Howery, Kristen Connolly, and Hall of Fame prick specialist Tracy Letts. Letts, whom you may remember from roles on Homeland or as Henry Ford II in Ford Vs. Ferrari, or from one of his one non-prick roles per decade, like as Saoirse Ronan’s dad in Lady Bird, is in fine form once again as Don Wilson, a pompous writer whose latest screenplay is a story about a writer like himself who has to solve a murder in his town. The character is not only hilariously dislikable, but key to understanding Deep Water; as, essentially, a parody of the kind of books in which a writer’s semi-autobiographical alter ego becomes the most important character in a story and ends up saving the day.

Without spoiling anything, Don’s big scene is reminiscent of Colin Farrell’s character’s in True Detective season two, expiring while waiting to send a text to his pudgy ginger son. Kudos to Zach Helm or Sam Levinson, surely this nugget wasn’t in Patricia Highsmith’s original 1957 novel.

After a movie full of twists and turns, thrills and chills, Deep Water ends on perhaps not its biggest narrative swing. It’s not quite the home run the rest of the movie promises, but it feels right enough, pleasingly symmetrical at least. All in all, it’s a story that gets its hooks in early and keeps stringing us along, without being exhaustively complicated.

A simple story that tracks, with aberrant characters and the boldness to be weird; when was the last time we got one of those? Deep Water is not only a refreshing throwback to the days of mid-budget thrillers aimed at adults, but perfect for at-home binging.

‘Deep Water’ begins streaming via Hulu on Friday. Vince Mancini is on Twitter. You can access his archive of reviews here.

Look, I like Adrian Lyne movies. In 1983 he somehow made a feature-length music video, called it Flashdance, and it made $200 million. And you know what? It’s a really fun movie to watch that ushered in a cavalcade of movies low on plot and high on style. Fatal Attraction is high concept sleaze that earned itself six Oscar nominations. (I have no doubt it would have gotten another in the Best Actor category if Michael Douglas wasn’t also in a movie that year called Wall Street.) In 2002 Lyne made Unfaithful. It made a whole lot of money and its star, Diane Lane, got an Oscar nomination. And then, until now, that was it for Adrian Lyne.

It’s probably for the best because it’s hard to imagine Lyne’s movies existing over the last 15 years or so anyway. As mainstream movies have become more and more antiseptic, there’s really no place for Adrian Lyne movies at theaters anymore – as we see now with his first film in 20 years, Deep Water, based on the Patricia Highsmith novel, released exclusively on Hulu. There’s no chance anything like Fatal Attraction could come out today with big movie stars and make over $300 million (in 1987 dollars, no less) and also get a plethora of Academy Award nominations. It just doesn’t work like that anymore. Now that doesn’t mean Lyne isn’t going to try with a movie like Deep Water.

(Not even counting that Deep Water isn’t eligible anyway because it’s not in theaters, this is not a movie that would get any kind of award other than maybe the “Mike Ryan applauds at home by himself multiple times award at something he found hilarious,” which Deep Water is very much in the running for.)

First of all, the plot of this movie makes little sense. Second of all, while watching, I quickly realized I didn’t care. Ben Affleck plays Vic, a man living in New Orleans who has made a fortune selling computer chips to the US government that they use for drones. Does he feel guilty? No, because he just makes the chip and what someone does with the drone isn’t in his hands. Which is kind of like setting a burger wrapper on your side mirror in a moving car then claiming you didn’t plan to litter when it flies off. Vic is a weird man. He has so much money that he seems bored and spends his time throwing parties, biking around town, and breeding snails. Yes, for some reason Vic has a snail collection. I assumed there would be a payoff. As far as I could tell there wasn’t. Also, it looks like it’s very difficult to keep a snail farm inside a home. (Fun fact, my editor, who is editing this piece, lives a block from the house where this was filmed. He said there was a truck filled with snails parked outside.)

When Vic isn’t biking, having parties, and hanging out with his snails, he also has an interest in murdering his wife’s boyfriends. Or at least threatening them with murder in the old, “Hey, I murdered that last guy she hung out with who disappeared, and if you want to keep hanging out with Melinda (Ana de Armas), hey, great, but I’m just sayin’,” kind of way. You see, Vic and Melinda have some sort of an open relationship policy that’s never really explained other than Melinda flaunting these men over at their house in an effort to make Vic incredibly angry. Is he actually murdering them? it’s unclear at the beginning but, come one, what do you think? There’s only so long a movie like this can keep us interested with Vic’s quirky snail collection.

Then Tracy Letts shows up (who has also been so great in Winning Time) and knows exactly what kind of movie he’s in and it’s all the better for it. Letts plays Lionel, a middling screenwriter who “writes screenplays about himself.” Lionel is also consumed by local conspiracies and while everyone else in town thinks Vic’s jokes about murdering Melinda’s boyfriends are hilarious, Lionel isn’t so sure Vic is just kidding around, especially after more and more of these young men start to vanish, or mysteriously drown in pools, or die from blunt force trauma to the head. It’s crazy all this is happening around poor Vic! But Lionel decided to take matters into his own hands and becomes a thorn in Vic’s side. To the point Lionel keeps showing up in places there’s no way he would ever possibly “just be.” I very much enjoyed Lionel.

If Deep Water were at all based in reality there would no doubt be an arrest fairly quickly. Yeah, gee, why do all these guys Melinda dates turn up missing? The police do show up at one point and Melinda literally tells them, “My husband is a murderer,” but the police seem to just find all this interesting more than anything and they let everyone go about their business and we never see them again. Honestly, the reason I enjoyed this movie is because it will lead to so many conversations trying to figure out each character’s motivation because none of them make sense. At times it seems like Melinda is truly terrified that her husband might be a murderer. At other times she seems flattered. Literally, no one in this movie acts like a normal human being and I could talk about it for hours and hours and hours.

Going back to Adrian Lyne. Yeah, I mentioned that his brand of movie wouldn’t have much of a place in the mainstream market over the last 15 years. But at the same time, it’s been so long since we have gotten a mainstream sleazy movie (released by Disney no less) starring two movie stars (at least, as much as anyone can still be a movie star today) that it feels like a whole new concept. To the point that Deep Water makes no sense, it’s impossible to make heads or tails out of character motivations, and there’s no real resolution or payoff to anything, yet I enjoyed this trashy dumb thing more than I ever thought I would. Perhaps it’s knowing there’s not going to be a new rush of films like this. It feels like a one-off from a director who made a certain kind of movie who also hasn’t directed in 20 years. So I’ve decided to embrace Deep Water and enjoy this last gasp from another time while it’s here. I hope Adrian Lyne makes 20 more movies.

You can contact Mike Ryan directly on Twitter.

Up until now, Kanye West’s feud with Pete Davidson has appeared to be motivated purely by West’s childish inability to let his ex-wife Kim Kardashian move on with her life now that the couple is legally separated. However, it now seems that Kanye has a legitimate concern that Pete will get Kim [checks notes] “hooked on drugs.”

Oh, no, never mind. He’s still just acting like a jilted middle schooler mad his crush went to the formal with the class clown. The above excuse is really one that he gave in his latest spate of Instagram tantrums, which saw him assert that Pete is “in rehab every 2 months” while cosigning a stan’s comment that the comedian is “sneak dissing” Kim somehow.

Kanye also appears to be super concerned by a headline asserting that Pete “enraged” an audience with a joke about having sex with a baby, saying, “Yet another reason why SKETE gotta stay away from my children.” Kanye failed to note that he had defended himself from backlash over his own crude, Pete-bashing “Eazy” video by saying “Art is not a proxy for any ill or harm.” He did not, however, fail to remove credit for the headline, which was initially posted on notorious right-wing propaganda site Breitbart, which is hardly a trustworthy source of legitimate news (of course, Kanye reads Breitbart). Kanye probably doesn’t care though, because however yellow the journalism, if it supports his narrative, he’s all for it.

Richard Nixon. G. Gordon Liddy. Bob Woodward and Carl Bernstein. These are the names most commonly associated with Watergate. But Gaslit, a new series on Starz based on the Slow Burn podcast, focuses on a lesser-known but important figure.

Gaslit follows Martha Mitchell (Julia Roberts), the wife of Nixon’s attorney general, John N. Mitchell, who was held hostage and drugged by one of Nixon’s goons for being the “first person to publicly sound the alarm on Nixon’s involvement in Watergate.” Mitchell was dubbed a “loudmouth” and “completely insane” then, but that was sexism rearing its ugly head; she’s rightfully considered a “truth teller” now.

Here’s the official plot synopsis:

Gaslit is a modern take on Watergate that focuses on the untold stories and forgotten characters of the scandal – from Nixon’s bumbling and opportunistic subordinates to the deranged zealots aiding and abetting their crimes to the tragic whistleblowers who would eventually bring the whole rotten enterprise crashing down. The story will center on Martha Mitchell, played by Julia Roberts. A big personality with an even bigger mouth. Martha is a celebrity Arkansan socialite and wife to Nixon’s loyal Attorney General, John Mitchell, played by Sean Penn. Despite her party affiliation, she’s the first person to publicly sound the alarm on Nixon’s involvement in Watergate, causing both the Presidency and her personal life to unravel.

Gaslit, which also stars Sean Penn, Dan Stevens, Betty Gilpin, Shea Whigham, Allison Tolman, Chris Messina, and Patton Oswalt, premieres on Starz on April 24.

Despite the ongoing situation involving Kim Kardashian, Kanye West, and Pete Davidson unfolding into tabloid fodder, The Daily Show host Trevor Noah used a significant portion of Tuesday night’s episode to explain why the situation is actually a serious topic rife with dangerous implications. Citing a deeply personal example from his own life, Noah warned that people need to pay attention to what’s happening before things could turn abusive and violent, as they can do for women who try to leave some relationships.

“What we’re seeing is one of the most powerful, one of the richest women in the world, unable to get her ex to stop texting her, to stop chasing after her, to stop harassing her,” Noah said before recalling how his own mother was told she was “overreacting” when she told people in South Africa that her partner was abusive. The situation ended with Noah’s mother getting shot in the head.

While Noah made it clear that he’s not specifically saying that this situation will grow violent, he’s also not not saying that. Via The Daily Beast:

“As a society, we have to ask ourselves questions. Do we wish to stand by and watch a car crash when we thought we saw it coming? Or do we at least want to say, ‘Slow down, let’s all put our hazards on, because there’s a storm coming and shit might go down.’”

As Noah concluded his impassioned plea, he ended with a somber thought on the pervasiveness of domestic violence. “If Kim Kardashian cannot escape this, then what chance do normal women have?”