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The Righteous Gemstones Halo Report is a weekly recap feature that assigns between zero and five halos to people, things, events, and general topics from each episode. There is very little to this beyond an excuse to highlight cool stuff from a good show and make jokes. And do crappy drawings of halos in MS Paint. We’re having fun.

ZERO HALOS

Getting called out on Christmas morning for abandoning your family at a pet store in the mall

Merry Christmas to everyone, but especially to me/us, as we were all treated to another flashback episode this week. The last time Gemstones took us back in time, we were introduced to “Misbehavin.’” This time, while we got some songs and some cufflinks, things were slightly less festive. We’ll get to the bodies and squabbles momentarily but first…

Aimee Leigh was not wrong to call out Billy for jetting on his family. She was right. I still hope a 40-year-old Harmon shows up later this season, just as evil as all hell, wearing black leather head-to-toe and eating an apple with a knife he carries on his belt. Big tattoo on his neck. His whole name shaved into the side of his head. I’ve been thinking about Harmon a lot.

Wait. Where was I? Oh yeah. Aimee Leigh, call someone into the next room before you air out the family business. The kids are there. They know Billy is a scumbag. Everyone does. But still.

Getting murdered and buried the cement of what will eventually become a religious-themed amusement park

We throw around the phrase “where the bodies are buried” pretty liberally considering what it’s actually saying. We use it as a shorthand for any dark secret or shady steps taken on the road to success. The Gemstones mean it literally. There is straight-up a money laundering Memphis wrestling promoter buried in the cement under the roller coaster at their Jesus theme park. That is… something. It’s definitely something! Merry Christmas.

It also adds a fascinating new layer to the “Eli riding the roller coaster by himself in a moment of personal crisis with just no joy or emotion at all on his entire face” thing from last week. He built a thrill ride on the bones of his previous life. Again, literally. There are layers at play here.

Stephen Root not being on this show yet

How has Stephen Root not been on this show yet? This might be the most “guest-starring Stephen Root”-ass show I’ve ever seen, at least since Justified, which he guest-starred on as a pistol-packing Kentucky judge. Something has to be done here. Cast him as a rival pastor. Cast him as a corrupt politician. Cast him as a rival pastor who became a corrupt politician.

I don’t care. Just do it. Fix this. Call him today.

ONE HALO

Eli Gemstone

Tough sledding here for Eli. His ambition is on full display, in all its ugly iterations. He wants to grow, now and a lot, and is considering corner-cutting to do it, which is how he finds himself once again roped in with Memphis hucksters. He’s got no real handle on his kids. His brother-in-law is already starting to suck money and energy out of the family like a leach. He’s firing accountants for kind of telling the truth and covering up murders and really just making a slew of shaky decisions all in a row.

It all kind of adds up, though. You can see all of this on his face in the present, all the sacrifices he made and all the work he put into building an empire his spoiled kids are now trying to push him out of. Which, again, brings us to the sad roller coaster rides. It’s not ideal.

Glendon Marsh

Is he as sleazy as can be? Sure.

Did he end up dead and buried in cement? Of course.

Did I kind of fall in love with him as soon as he dropped a modified “we’re not so different” on Eli? Folks, you know I did.

TWO HALOS

Old school arcade games

Here’s the thing about old-school arcade games: they stunk. Big and clunky and stupid and something people remember fondly because they had fun slipping a $10 bill into a machine and getting a big pile of quarters and running amok on Mortal Kombat or Cruisin’ USA while their moms looked at blouses and bulky blazers in JC Penney, but like, no.

This was the way you knew they were actually junk: If you had a rich friend who had one, like in a garage or basement or rec room, you’d be blown away by it for like 30 minutes but then the charm would wear off and it would become just like another place people hung wet clothes to dry. The past wasn’t always that cool, or at least not as cool as you remember. We didn’t even have, like, DVR back then. If you missed an episode of a show and weren’t the kind of rocket scientist who could program a VCR, you just never got to see it. It was weird. And bad. Come on.

Granddaddy Roy

Man just wants to stumble around in his underpants with a shotgun in his hands, blasting holes into shady characters who are harassing his son. Leave him alone. He’s earned that much.

THREE HALOS

Baby Billy

See, the temptation here is to deduct multiple halos from his score for offenses like “abandoning his family” and “mooching off anyone he can” and “having a big empty hole inside his body that he fills with various resentments and grievances” and “giving everyone cufflinks for Christmas and then pouting until he realized they got him a boombox,” but… I mean…

The Marlboro sweatshirt. Have you ever seen such a perfect little touch? Like, as soon as I saw him in it I was like “yes, of course, this feels so right that I’m angry I didn’t realize it before.” I’m very proud of everyone involved.

Aimee Leigh

I don’t know why I’m not giving Aimee Leigh more halos here. I should, by any reasonable standard. She’s a good woman who tries her best given her ambitious husband and scumbag brother and snotty children. She has tremendous glasses. I feel like I might just be punishing her because she and Billy didn’t perform a holiday-themed version of “Misbehavin’” about, like, Jesus being born in the manger. It’s not fair. I know that. But here we are anyway.

FOUR HALOS

Twirling a gun menacingly while thinking about your enemies

This show is so blessed to have Eric Roberts on it. Look at him up there. Have you ever in your entire life seen someone look so convincing as a vengeance-seeking slimeball? It’s almost enough to make me forget about the thing where Stephen Root hasn’t been on the show yet.

Almost.

Having a massive mural of lions above your bed

Give me an entire episode about the commissioning of this mural and the painting of it and the reactions to it by various friends and families as they step back and look at the entire scene and say something like “That’s… cool.”

It fascinates me. I must know everything about it. I also now want a similar mural above my bed, but instead of this scene, with the lions and such, I want a heavenly recreation of Nick Foles catching a touchdown pass in the Super Bowl. Go Birds.

The casting department on this show, generally

God, Young Judy and Young Jesse are so perfect. They’re so perfect that I almost forgot that these are entirely different people playing the characters, like for a second my brain was just willing to accept that this was the young version of the same people, like they had a real time machine. Good job, everyone.

FIVE HALOS

Anton Chekhov, 19th-century Russian playwright

Anton Chekhov was a legendary writer who would have been influential and important even if he hadn’t been credited with one of the most famous storytelling rules in history, but he did do that, so let’s just go ahead and quote the theory of Chekhov’s Gun once again:

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

Granddaddy Roy showed up in Act I brandishing a weapon and by the end of the episode he had used that weapon to blow a hole straight through the torso of a man who had his sights set on ruining everything we already know ends up getting built. This is all very straightforward. Chalk up another victory for Chekhov.

Martin

Martin was already rocketing up the list of Brian’s Favorite Characters on Television and then he went and showed up 30 years in the past with a luxurious mustache and a willingness to help dispose of a body for a man he just met a few weeks earlier. Under a roller coaster. On Christmas.

Martin is an extremely solid dude. The most solid dude on the entire show, easily. I now want nothing but the best for him forever. And I want a Martin in my own life. I feel like I’d be much more productive and happy. And I would have help disposing of bodies. If it ever comes to that. I’m not planning on it or anything. But… you never know, you know?

Tater tots

Wildly underrated side dish. Delicious. Should be offered on more restaurants menus, either in addition to or in place of french fries. No one has ever seen a bowl of piping hot tater tots and been like “nah.” You’re definitely snagging one if you see that. Especially while they’re hot and crispy. I feel like I should get credit for waiting this long into the recap to say all this. If I had been like 15 percent hungrier, this whole sucker would’ve been like 1500 words about tater tots and then a sentence at the end about the murder.

Tater tots are good.

During the rollout of his album Jesus Is King, Kanye West could often be seen cruising around in a tank-like ATV, chasing antelopes on his ranch in Wyoming, giving away Yeezy sneakers in his native Chicago, and gifting them to his rapper friends like 2 Chainz. Today, TMZ reports that we might be seeing fewer ATV-related shenanigans from the rapper, though, as he has sold one to the stars of the Discovery Channel reality show, Diesel Brothers.

Dave “Heavy D” Sparks, one of the two titular “brothers” (they are actually friends in real life, not siblings), told TMZ that initially, Kanye had contacted them to do some work on the Ripsaw EV2 vehicles, but timing prevented them from ever being able to actually do it. However, last October, a rep told them that Kanye wanted to sell the truck, which he’d reportedly bought for $500,000. According to Sparks, there’s a DVD player built into the dash that only plays one K-Pop music video on an endless loop. Maybe it’s one of North’s? The “brothers” say they can’t get it to stop without yanking the whole DVD player — which would be a prime reason for getting rid of the whole vehicle, in my opinion.

Following up their massive fourth album, If I Can’t Have Love I Want Power, Halsey has announced a full tour behind the album as well. A departure from her past work in some ways, this new record was a collaboration with Trent Reznor and Atticus Ross of Nine Inch Nails, a band that has been an inspiration to the artist for years. In a period that also included Halsey going through the pregnancy and childbirth process for the first time, and officially updating their pronouns to both “she” and “they,” the pandemic has definitely been a year of transition for her.

No doubt their new tour will reflect some of these changes, and, of course, other pandemic protocol like masking, testing, and proof of vaccination. Dubbed The Love and Power tour, Halsey will kick it off on May 17 in Palm Beach, Florida at the iThink Financial Amphitheatre, and run through a final July date in Irvine. And the support for the tour is even more incredible — both Uproxx cover star Beabadoobee and rising UK producer PinkPantheress will join Halsey as openers, making this one of the first must-see bills of 2022. Check out the full dates below, tickets will be on sale this Friday here.

Halsey 2022 Tour Dates:
5/17 — West Palm Beach, FL @ iThink Financial Amphitheatre
5/19 — Tampa, FL, MIDFLORIDA @ Credit Union Amphitheatre
5/21 — Gulf Shores, AL @ Hangout Music Festival
5/24 — Nashville, TN @ FirstBank Amphitheater
5/27 — Charlotte, NC @ PNC Music Pavilion
5/29 — Detroit, MI @ Pine Knob Music Theatre
6/01 — Boston, MA @ Xfinity Center
6/03 — Cleveland, OH @ Blossom Music Center
6/05 — Toronto, ON @ Budweiser Stage
6/08 — Columbia, MD @ Merriweather Post Pavilion
6/11 — New York, NY @ The Governors Ball
6/16 — Seattle, WA @ White River Amphitheatre
6/18 — Portland, OR @ RV Inn Style Resorts Amphitheater
6/21 — Los Angeles, CA @ Hollywood Bowl
6/24 — Mountain View, CA @ Shoreline Amphitheatre
6/26 — Phoenix, AZ @ Ak-Chin Pavilion
6/28 — Dallas, TX @ Dos Equis Pavilion
6/30 — Atlanta, GA @ Cellairis Amphitheatre at Lakewood
7/02 — Milwaukee, WI @ Summerfest
7/03 — Chicago, IL @ Hollywood Casino Amphitheatre
7/06 — Denver, CO @ Red Rocks Amphitheatre
7/09 — Irvine, CA @ FivePoint Amphitheatre

Lily Collins has given her approval to a hilarious “Weekend Update” segment where Peyton Manning couldn’t stop talking about the hit Netflix series Emily in Paris instead of the recent NFL playoff games. Following the Saturday Night Live sketch going viral, Collins weighed in on Instagram, and she had nothing but love for Manning’s performance.

“Peyton Manning in a beret is everything I didn’t know I needed,” Collins wrote. “Still dying over the @emilyinparis-inspired Weekend Update on @nbcsnl last night…”

Collins’ Emily in Paris co-star Ashley Park couldn’t help but gush about the sketch in the comments where she wrote: “Beyond ”

You can see Collin’s full post below:

In the segment, Weekend Update anchor asked Manning for his thoughts on the teams heading to the Super Bowl. However, Manning only had one thing on his mind, and it was the whimsical Netflix series, which he admits he watched instead of the games.

“Oh my god, Colin. This show has everything,” Manning gushed. “Romance, adventure, sensuality, culture, a fresh take on feminism — finally — not to mention a culinary tapestry so rich, I could only describe it as ‘food porn.’”

After Jost attempted to get things back on track by asking Manning about reports that Tom Brady might actually retire, you’ll never guess which show the football star worked into the conversation.

“Yeah, I’m not sure it’s true,” Manning said. “I think it’s probably just speculation. But if it were me, I probably would retire, too, if it gave me more time to watch Emily in Paris.”

(Via Lily Collins on Instagram)

Self-care, as it relates to Black women, is best defined by poet and writer Audre Lorde. “Caring for myself is not self-indulgence,” she wrote. “It is self-preservation, and that is an act of political warfare.”

The implications of Black women caring for ourselves above all else are, as Lorde said, political. As the world continues to expect more and more from us, we owe it to ourselves to take care — whether we are given the room to do so, or have to create it from nothing. The rise of self-care gave way to three records in the last decade of R&B music: A Seat At The Table by Solange, CTRL by SZA, and Shea Butter Baby by Ari Lennox. These records carved out three distinct paths in the same lane, creating space for Black women in the idea of preserving the self.

Solange’s A Seat At The Table, released right before the 2016 election, remains a monument of the time. The record’s centerpiece songs, such as “Don’t Touch My Hair” and “Weary,” were instantly topical, acting as a comfort blanket to protect against the increasingly fraught energy surrounding, well, everything. Originally conceptualized as an homage to her family’s Southern roots, and taking up space through documenting Black personhood, Solange lays out all of her failures and triumphs on her fourth record, giving way to truths that are ultimately universal. Her pillowy voice, warm bass, and delicate neo-soul keyboard sounds provide a soft place to land as we confront all of the things that are ugly in this world.

Solange gave the Black image a distinct place in the self-care movement as we know it today: the album cover features her best Mona Lisa, smiling slyly with multicolored hair pins holding the perfect waves framing her face. She presents the idea that before we can care for ourselves, we have to be sure that we are safe. Solange asserts this idea on “F.U.B.U” (which stands for “For Us By Us”), envisioning a world in which it is safe for Black women to rest, to live.

Establishing self-care as both a political and artistic act set the stage for SZA — Solange’s protege of sorts, and the adored singer behind CTRL, her well-loved debut and one of 2017’s most successful albums.

SZA’s video for “The Weekend,” directed by Solange herself, was a beautiful, slow-moving affair. The sleek, minimal track is about a mixed-up love affair, with multiple people vying for the time and attention of one person. This sounds like normal R&B fodder: a relationship gone wrong, a narrator who is upset at the way they’ve been treated. But, “The Weekend” became a beacon of sorts (and a platinum hit without being a single) — it is an admission of weakness if you look further. SZA admits that she is lonely, wanting to replace all of the someone elses in question.

CTRL was not a planned concept. After signing a major deal, SZA wrote and recorded as much material as possible, condensing it down to fourteen songs. And this is evident in the way it plays out; CTRL is a confessional booth, a diary, the ear of a best friend.

On “Supermodel,” the album’s show-stopping, sparse opener, SZA lets us know that she wants to be beautiful for us, and she has a hard time believing that she can. This admission of her lack of confidence establishes honesty as another important tenet of self-care. The album’s closer, “Pretty Little Birds” is a beautiful manifestation for good after everything that SZA has told us went wrong. She has covered the good, the sensual, the messy. She tells us that everything that she needs from her lover, and from us is to see and to be seen. When SZA sings, it is deeply about the self, with feelings examined from each angle with a goal in mind: to grow.

By the time Shea Butter Baby arrived in 2019, Ari Lennox was gaining attention for being the first woman to be signed to J Cole’s Dreamville label. Self-care had been largely established as a worldly, commodifiable interest, rather than a way to create comfort. Shea Butter Baby served as a balm to this concept, a reminder that the journey to self is messy.

Shea Butter Baby is distinctly feminine, the album’s title track featuring Cole himself serving as an ode to the beauty that is Black self-care on a physical level, silk sheets and soft, shiny skin. But, self-care is more than skin deep and Lennox makes sure that we do not forget this. On “Speak to Me,” Lennox is at her most vulnerable, wishing to know the truth about where she stands with someone who she loves. The delicate punch of “I Been” tackles the allure of escapism, Lennox so desperately wanting to be somewhere else while everything is going wrong. On “Static,” the album’s closer, Lennox implores us to save ourselves from drowning beneath all that is unimportant — reminding us that we are in control of our own destinies. Shea Butter Baby finds and cherishes the freedom that it takes to care for the self.

These three records charted distinct journeys for each of these artists on the same course to understand the self. The portraits of Black womanhood that each of these records paint represent different people at distinct points in time, striving to understand what it is that makes us who we are. That quest for closeness to the self is what makes self-care so important, and what makes each of these records a crucial snapshot of what that means for us. These records highlight the need to seek community, growth, and comfort: all necessary pieces to the self-care puzzle.

Showtime’s Yellowjackets is already planning next season’s soundtrack, including Tori Amos and Nine Inch Nails, and it sure seems like either of those artists would do well in a scene featuring Melanie Lynskey’s badass housewife character, Shauna. The Castle Rock actress is taking a scorched-earth view, too, of bodyshaming that has come her way since the show’s mid-November debut.

The show spawned plenty of fan theories, of course, but there’s no lack of clarity from the show’s stars after Lynskey told Rolling Stone about how crew members remarked upon her body, saying “I’m sure the producers will get you a trainer. They’d love to help you with this.” Lynskey detailed how her co-stars (including Juliette Lewis, Christina Ricci, and Tawny Cypress) expressed concern about this behavior to producers. And Lynskey has now pushed back *hard* at body shamers while quoting a (now-deleted) tweet from bestselling author and body-positivity advocate Ashley C. Ford.

“The story of my life since Yellowjackets premiered,” Lynskey wrote on Twitter. Most egregious are the ‘I care about her health!!’ people…b*tch you don’t see me on my Peleton! You don’t see me running through the park with my child. Skinny does not always equal healthy.”

The “b*tch you don’t see me on my Peleton!” is a nice touch. And as much anguish as the spin-bike maker has received over the past few months from TV shows, I’m pretty sure Shauna could crush tons of rides with no issue if a bike miraculously popped up in Yellowjackets Season 2. Just a thought!

If you’d told me 20 years ago that 50 Cent would become one of the hottest producers in television with a veritable cinematic universe to his name… Actually, I would have believed you. At the time, he was the biggest thing in rap music, a world-class superstar who had promised to put the radio game in a chokehold — and then did it.

Now, he’s done the same with premium TV; again, if you told me his Power franchise (with three spin-offs plus an unrelated but thematically relevant Black Mafia Family bio series) were majorly responsible for a big boost in Starz subscriptions for the past three years, I would definitely be inclined to believe you.

The story that began with Ghost St. Patrick and Tommy Egan way back in 2014 in the original Power is, in 50’s own words, coming full-circle with the upcoming spin-off, Book IV: Force. Following Tommy’s exploits when he leaves New York for his hometown, Chicago, Tommy will once again get wrapped up in criminal enterprise and intrigue as he gets caught between two of the city’s rival organizations.

With Book IV: Force set to premiere on Starz on February 6, executive producer 50 Cent sat down for a Zoom call with Uproxx to discuss the show’s cultural impact, its catchy theme music, and why he would actually prefer if his cinematic universe was a little more family-friendly.

What modern-day social issues do you hope to address with the show with the story of Tommy in this new city?

Coming into the town, he interacts with who he would just run into. It turns into a whole different thing, but in the future, you should expect him to see more of that culture that we are aware of coming into the show, but it comes in as a resource that he sees. When he’s under circumstances where he gets into something and he involves them to come as muscle.

I’m not trying to fix the world with television. I’m trying to entertain people with it. And I think when you look at everything else that’s there, when you look at the news, all you see are things that speak to the graphic nature of premium television. So this is where we make a connection that network television doesn’t. I think people connect with that, having really flawed characters that people could relate to. I think that’s what makes them watch the show with a different intensity. They feel like they could have played the character.

How much of yourself do you see in your characters when they make choices on the shows? Do you find yourself going, “Well, I would do that differently”? Every time Cane [In Book II: Ghost] does something, I’m just like, “This dummy.”

I definitely do that. “What is he doing? Why are you doing that? I get into it too. I’ve seen the material. I’ve read it. Even when I’m not on set, I still get a chance to see the pieces of it. I watch it, complete it before everybody else watches it, and I’m still not excited until I’m watching it and everybody else is watching it because I’m thinking what everybody else is thinking when they watch it.

How hard is it as the producer not to jump in and be like, “Don’t do that! No. Change that.”

It is very hard. Look, I’ll call the writers or the showrunners of the shows, I’ve called each one of them at points and said, “Why? Why is this like this? Why does it have to be like this?” There are certain scenes that they’ve done in Ghost. I look and go, “Yo, could we tone that down a little bit?”

So, when you put that with younger characters… Also knowing some of the audience is not as mature. I like the sex scenes and stuff but some of it can be insinuated, you don’t have to see it. The fact that we can do it, they feel like, okay, cool. We just don’t want to go from watching television that ended up in soft pornography.

How many spinoffs do you think this universe can support? What would an Avengers-like crossover look like between the shows?

Whew, you said Avengers, that’s crazy. Look, I already took this far enough. If you looked at Power, Ghost, Raising Kanan, and now, Force. finishes the story. Because it was Ghost and Tommy in the beginning.

It’s just, his lady would help him with things. She was the right woman for the journey and the wrong woman in the story because she’s only seeing him one way. So she just wants him to be the biggest drug dealer. Remember that line, “When you look at me what do you see?”, “Biggest drug dealer in the city.”

Right. Right. Right. And it’s like, don’t encourage me to be this. Encourage me to be better.

Something different. And then while he’s having to change a heart no one knows.

And that’s kind of like where every gangster show goes, right? The guys want to go legit and the city won’t let them. The game won’t let them.

At the point that you decide that “I have enough. I’ve made enough. I experienced enough.” Right. This is when you go, “maybe I could have did it legit or did it a different way.” And at that point, the irony of it is you’re under investigation.

Yeah. Because you’ve gotten too big. That’s the danger of being the biggest is that you become a target. When you’re recording the theme music what inspiration do you take away from the show itself and how does it differ from writing music for yourself?

When you get into the theme songs, it’s fun to make those records for me. It’s like each one of them is a separate energy, a separate piece. I’ll go in the studio. I’m like, “Yo, this last one was forced.” It was easy. I had to make something that felt like Chicago and no matter what I write about Chicago, it’s going to feel like New York.

So look, there’s two vocal versions of the song. So when you hear the television show, it’s slightly different from when it’s on the song and it’s because I’ve really set the vocals once I heard the tones in Durk’s verse and what Jeremih the chorus felt like finished. Because we’ve done it several times. He’s done the hook two, three different times before we got it all the way right.

Durk recorded one time and then sent it back and then we heard it and then we had everything, all the pieces to put the song together. And I didn’t want it to feel like a collage because I’m here, they’re there and we just put it together. So I matched the tones of everything else so it’ll feel like a cohesive song.

How do you find angles to play off each individual style out from the collaborators like with NLE Choppa and Lil Durk?

Look, you have with NLE and these guys, these are the new guys, bro. The “hip” part of hip-hop is youth. You know what I’m saying? So what they’re thinking and doing, you got to watch them and see how to wave for what’s coming next. It’s going to go.

Do you think you can ride that wave into the future?

The cadences that they using is not difficult at all. If you listen to the music, you could just go, “Okay. I could write that.” If I was coming right now, I’d be on fire. I think once you’ve been, let’s say seasoned, right? I sold over 35 million records, bro. I have a whole 12 years, 13 years of dominating hip-hop culture. Nobody wants to remember that time period though because it was not comfortable.

When you represent things that are street or that have the energy, it’s on the artist without him even saying anything. The NBA YoungBoy, these kids is coming from different territories, but they have street on them. They can’t help it. It’s already there. You don’t have to have Instagram or Twitter or any of that stuff because once it connects it, it’s just there.

Power Book IV: Force premieres February 6th on Starz.

Zendaya won an Emmy for Euphoria. Is it Sydney Sweeney’s turn next?

The actress was dubbed “the season’s acting MVP” by Vanity Fair following Sunday’s anxiety attack of an episode, in which her character, Cassie, gets worryingly wasted and ends up puking in a hot tub. It was a great performance, if not the most fun thing to film.

“During the hot tub scene, during the throwing up, I got really grossed out,” Sweeney told Decider about filming the scene. “They had this invisible tube that looked like a horse bit and they put it in my mouth and I had to somehow hold and make it look semi-normal and then throw up over everyone which was… It was so gross.”

Sweeney recently gave an interview where she expressed concern that she doesn’t get the recognization she deserves because she’s appeared nude on screen (“I’m very proud of my work in Euphoria. I thought it was a great performance. But no one talks about it because I got naked”). But it would be tough for the Emmys to ignore her now, either for Euphoria or The White Lotus (she is so good, and so scary). Or at least get her on another HBO show, like Succession or Barry. She’d make a good assassin.

Her fans are ready for that Emmy:

It’s not all that unusual to see celebrities at big sporting events but in Los Angeles, it’s apparently such a common occurrence that it’s easy to get them confused for one another — even when they look nothing alike. That’s what happened during Sunday’s NFC Championship game between the Los Angeles Rams and the San Francisco 49ers at SoFi Stadium, where Big Sean and Jhene Aiko were misidentified on the Jumbotron as Buffy The Vampire Slayer herself, Sarah Michelle Gellar, and her husband Freddie Prinze Jr.

On the Jumbotron, a closeup of Big Sean and Jhene Aiko was captioned “Sarah Michelle Gellar and Freddie Prinze Jr.,” prompting Gellar to joke on Instagram, “@bigsean do you get mistaken for me as often as I get mistaken for you? (Swipe right to see my actual date at the #ramshouse).” In her post, she compared a selfie with her and her husband to the photo that appeared onscreen at the game, then added a photo of her and her friend Elsa Collins, with whom she actually attended the game.

Sean and Jhene also seemed tickled by the mishap, with Sean posting a photo of the two staring in confusion at the Jumbotron to his own Instagram Story.

As The Batman draws closer to bringing Matt Reeves and Robert Pattinson‘s new version of the Dark Knight to screens, the film’s official Twitter account has released a new promo video announcing the start of ticket sales: February 10. In the new preview, Pattinson’s Bruce Wayne is called out for failing to use his family vast wealth’s to help the city. Of course, unbeknownst to the citizens of Gotham, he’s been waging a war in the shadows as Batman, which has put him in the crosshairs of The Riddler.

As the new teaser ominously shows, The Riddler knows Batman’s secret identity and has no trouble outsmarting the vigilante at every turn. Pattison’s Bruce Wayne can’t punch his way out of this one, and it looks to be one heck of a battle of wits. The film also has Jason Momoa‘s seal of approval, so what more do you need?

Here’s the official synopsis:

When a killer targets Gotham’s elite with a series of sadistic machinations, a trail of cryptic clues sends the World’s Greatest Detective on an investigation into the underworld, where he encounters such characters as Selina Kyle/aka Catwoman (Zoë Kravitz), Oswald Cobblepot/aka the Penguin (Colin Farrell), Carmine Falcone (John Turturro), and Edward Nashton/aka the Riddler (Paul Dano). As the evidence begins to lead closer to home and the scale of the perpetrator’s plans becomes clear, Batman must forge new relationships, unmask the culprit, and bring justice to the abuse of power and corruption that has long plagued Gotham City.

The Batman swings into theaters on March 4.