On Tuesday, Upworthy reported that actor Peter Dinklage was unhappy with Disney’s decision to move forward with a live-action version of “Snow White and the Seven Drawfs” starring Rachel Zegler.
Dinklage praised Disney’s inclusive casting of the “West Side Story” actress, whose mother is of Colombian descent, but pointed out that, at the same time, the company was making a film that promotes damaging stereotypes about people with dwarfism.
“There’s a lot of hypocrisy going on, I’ve gotta say, from being somebody who’s a little bit unique,” Dinklage told Marc Maron on his “WTF” podcast.
“Well, you know, it’s really progressive to cast a—literally no offense to anybody, but I was a little taken aback by, they were very proud to cast a Latino actress as Snow White,” Dinklage said, “but you’re still telling the story of ‘Snow White and the Seven Dwarfs.’ Take a step back and look at what you’re doing there.”
“It makes no sense to me, because you’re progressive in one way and then you’re still making that fucking backward story of seven dwarfs living in a cave. What the fuck are you doing, man?” Dinklage added. However, he could get on board if Disney made some drastic changes to the fairy tale.
“If you tell the story of ‘Snow White’ with the most fucked-up, cool, progressive spin on it—let’s do it!” he said.
Dinklage is one of the most high-profile dwarfs in the world, so when he speaks out about matters facing the dwarfism community, his words carry a lot of weight. They clearly caught the attention of Disney, which responded with a statement on Tuesday.
“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period,” a Disney spokesperson said in a statement to The Hollywood Reporter.
The Hollywood Reporter notes that the film will have cultural consultants and that the updated “dwarf” characters will be “CG/animated.” Disney has employed cultural consultants in the past on films such as “Coco” and “Mulan” to avoid promoting any harmful stereotypes. It’s a tough lesson that the company has had to learn. Some of Disney’s most classic films now come with a disclaimer notifying people that they contain outdated depictions of certain groups.
The story of “Snow White and the Seven Dwarfs” is a sensitive topic for the dwarfism community. Although it’s a cartoon, it’s often a child’s first exposure to dwarfs, or “little people” as they are sometimes called, and it promotes some of the worst stereotypes attached to them.
Throughout film history, dwarfs have been depicted as magical, communal people, villains or characters to be laughed at. Only recently has Hollywood has begun telling stories where little people are portrayed as fully developed humans. Dinklage has been a wonderful example of someone with dwarfism playing characters that are about more than simply being short-statured.
Historically, bigots have used “Snow White” as a cudgel against little people by comparing them to the characters in the story and by playing cruel jokes such as shouting “Hi-ho” at them in public. So it’s important for Disney to get the characterization of Snow White’s short-statured friends right or risk giving more fodder to those who wish to victimize them.
The hosts of Fox & Friends aren’t always friendly. At the start of the year, Steve Doocy — proud father of the reporter President Joe Biden recently called a “stupid son of a bitch” over a hot mic — caught COVID amidst the emergence of the Omicron variant. He got really sick; he could have died. But when he returned to hosting duties, hoping to warn their unvaxxed viewers — who are overwhelmingly the ones hospitalized and dying from COVID — he was met with hostility from co-host Brian Kilmeade.
Now the two are at it again. On Wednesday, the team belatedly discussed one of the big controversies from last weekend: Bill Maher and former New York Times reporter Bari Weiss saying they were “done” with COVID, despite it currently killing over 2,000 Americans a day. Doocy thought that was dumb. Kilmeade did not. And so things got a little testy.
“The survivability is 98 percent. And you want to live your life running around hiding for two and a half years? Are you kidding? She’s 100 percent right,” Kilmeade said about Maher and Weiss’ reckless attacks on mandates and restrictions.
Doocy attempted to be measured. “I’m certainly not hiding, I’m just being careful,” he replied. “A lot of people, I’m in my 60s, a lot of people over 60 are being careful because they don’t want it and it’s killing 10,000 people a week.”
Kilmeade, who hosts a show where he just yaps about whatever, claimed that health experts “don’t know what the hell they’re talking about,” saying that they “change the rules and never acknowledge that they told us the wrong stuff.” (He didn’t mention that their rules change because our understanding of a constantly evolving virus is itself changing.) Kilmeade suggested that Biden’s message should be about “living with it, not running from it.” (Again, over 2,000 Americans — almost all unvaccinated people, who may be listening to people like Kilmeade and Tucker Carlson — are dying every day.)
When Doocy offered an olive branch, saying “you got to be careful,” Kilmeade shot back.
“In what way?” he replied, not letting him answer. “What mask? Does the mask work being careful? Then they tell us the cloth mask doesn’t work. Really? Two and a half years later I’m wearing a mask that doesn’t work?”
Then Doocy pointed out, “Brian, everybody in this building for the most part except us is wearing a mask,” alluding to the building’s strict vaccine mandate for on-site workers.
Bourbon whiskey (already) starts to hit its stride at this price point. You really can find pretty damn good bourbons in the $20 to $30 range. In fact, you can find some stone-cold classics at this price point. Why? Well, the biggest reason is that bourbon doesn’t have to be aged forever (two to six years is a loose average) and it’s largely a local product.
Just for clarity, I’m not saying a $25 bottle of bourbon is going to blow your socks off. What I am saying is that bourbon whiskeys in this price range are going to be a) very easy to drink, b) findable, and c) versatile. You’re going to find complexity. You will find great cocktail bases. Hell, there are even a few bourbons I sip on the rocks on this list from time to time.
The ten bottles of bourbon whiskey below are great-tasting standard bourbons. These are everyday pours. They all clock in at under $30 based on prices at Total Wine in Louisville, Kentucky (your local prices will vary slightly). Let’s dive in!
Larceny is Heaven Hill’s wheated bourbon. The mash bill is 68 percent corn, 20 percent wheat, and 12 percent malted barley. The wheated juice is “small batched” with no age statement and proofed down to a very accessible 92 proof.
Tasting Notes:
There’s a note of freshly baked biscuits with butter and toffee dripping through on the nose. That butter gets very creamy on the palate as the toffee leads towards rich vanilla, sweet oak, and very slight berry fruitiness. The real star of the show is the buttery toffee, biscuits, and hint of sweet wood that lingers the longest throughout the short-ish finish.
Bottom Line:
An accessible and tasty wheaty is a good place to start on this price-point journey. This whiskey highlights the graininess with a nice sweet edge coming through, making this an easy mixing bourbon.
This juice hails from one of Sazerac’s many other distilleries. In this case, Clear Spring Distilling Co. is behind the brand (they’re also rumored to be behind Costco’s Kirkland Signature bourbons). This juice is a pretty straightforward bourbon that’s aged around two years before blending, proofing, and bottling.
Tasting Notes:
This does taste a lot like the Kirkland Signature stuff. There’s a clear sense of vanilla, caramel, and oak that’s neither bold nor muted alongside a hint of sourdough crust and maybe mint. The sip has a moment of orchard fruit next to the caramel that then leads back towards the vanilla. The end is short, a bit hot, and sweet-ish with a cherry edge tied back to the vanilla.
Bottom Line:
This is a whiskey that’s best suited to shots and highballs, especially ginger ale ones.
This introductory juice from Four Roses is a blend of all ten of their whiskeys (they produce two mash bills — one high rye and one low rye — with five different yeasts). The barrels are a minimum of five years old when they’re plucked from the warehouses, blended, brought down to proof, and bottled.
Tasting Notes:
There’s a bit of steeliness to the nose that’s mellowed by hints of dried florals, apple, and a touch of honey and spice. The taste doesn’t veer too far from the nose as the apple and honey move toward mild vanilla and more sweetgrass. The end is subtle and short with a touch of green oak, spice, fruit, and one more dash of honey.
Bottom Line:
If it wasn’t for that steely note on the nose, this might be at the top of this list. Still, this is a solid mixing bourbon that works well as shot with a beer back too.
Old Forester’s 100-proof expression is made in the same way as their 86 proof (with a mash bill of 78 percent corn, 18 percent rye, and ten percent malted barley). The key difference is that after these barrels are blended, they’re barely touched with water, keeping the proof on the higher side.
Tasting Notes:
Oak and caramel draw you in on the nose with a nice dose of cherry candy and a hint of coffee bitterness. The palate wallows in vanilla as a spicy apple pie with a vanilla-flecked, buttery crust drives the taste. The oak, apple, and spice really power the dram home with a medium-length fade and plenty of bourbon/oaky/spicy warmth.
Bottom Line:
This works really well in old fashioneds and Manhattans thanks to that higher ABV. Though, I tend not to pour this on the rocks all that often.
This whiskey, distilled at Lux Row Distillers in Bardstown, is kind of like a Tennessee whiskey made in Kentucky. The juice has a pretty standard mash bill corn, rye, and barley. But, once the spirit comes off the stills it’s filtered through charcoal, just like Tennessee whiskey, before it’s filled into the barrels. That whiskey is then batched, proofed down with limestone water, and bottled.
Tasting Notes:
This also leans very classic bourbon with hints of corn on the cob with melty salted butter next to hints of soft leather pouches filled with roasted peanut shells, a touch of caramel, and a vanilla/chocolate ice cream vibe. The palate keeps things super easy as that rich vanilla ice cream leads towards holiday spices, tart green apples, and a freshly baked cornbread bespeckled with dried chili flakes and black pepper. The finish is soft and fast with that spice leading back towards a leather tobacco chew.
Bottom Line:
The higher ABVs on this one make it great for mixing up easy cocktails (think old fashioneds and highballs). I have poured this over the rocks from time to time as a sort of everyday table whiskey.
This bourbon from Kentucky Bourbon Distillers (or more familiarly, Willett) is a bit of a mystery. Willett doesn’t really show its hand with any of their releases and this one is no different. We do know it’s a “small batch” and from barrels that are a minimum of four years old (some say as old as ten). But that’s about it.
Tasting Notes:
The whiskey opens with a note of wintry plum pudding next to oatmeal cookie, a hint of worn leather, and dried mint leaves. The palate luxuriates in vanilla-laced pancakes dripping with real maple syrup, a touch of orange zest, and a little more of that leather next to a mild spicy tobacco leaf. That tobacco leaf attaches to a woodiness that’s almost wet like cordwood as the vanilla smoothes out the finish and leaves you with a smooth menthol tobacco vibe.
Bottom Line:
This is a light bourbon. There are distinct notes throughout but they never “Wow” the palate or sense. That being said, this folds into a cocktail very easily and opens up a bit more over a rock than on its own.
This unique offering from Brown-Forman celebrates the coopers who make all their barrels, including those for Woodford Reserve and Jack Daniel’s. The juice isn’t just aged in those Brown-Forman barrels, it’s also filtered through beech and birch charcoal, adding a Tennessee whiskey-like edge to the Kentucky bourbon expression.
Tasting Notes:
Toasted and charred oak both come through on the nose with a clear sense of tart apples stewed in butter and Christmas spices with a hint of lemon zest. That lemon turns into a creamy pudding as the spice from the stewed apples amps up and marries with the cedar notes from the wood. With a little water, nutty notes pop with a bit of orange zest and mint. The end is deliberate and hits on the toasty oak, spice, apples, and sweetness as it fades.
Bottom Line:
This is where we start getting into the versatile pours. This works wonders in a cocktail but is also perfectly well-suited to an on the rocks pour.
This is Maker’s signature expression made with Red winter wheat and aged seasoned Ozark oak for six to seven years. This expression’s juice is then sourced from only 150 barrels (making this a “small batch”). Those barrels are then blended and proofed with Kentucky limestone water before bottling and dipping in their iconic red wax.
Tasting Notes:
The nose is full of those heavily charred oak barrel notes next to classic hints of caramel and vanilla with a grassy underbelly. That grassiness becomes vaguely floral as slightly spiced caramel apples arrive, along with a chewy mouthfeel that leads towards a soft mineral vibe — kind of like wet granite. The end holds onto the fruit and sweetness as the oak and dried grass stays in your senses.
Bottom Line:
While this is a little low in the ABVs for cocktails, it still makes a mean Manhattan. Otherwise, pour this on some rocks after a hard day’s work and take your time enjoying it.
This tiny and new distillery was founded in West Louisville by brothers Victor, Chris, and Bryson Yarbrough. The distillery is the first African-American-owned brand working in the state. For now, this bottle is contract-distilled (distilled at a big distillery based on their own recipe/concept) in Indiana from a mash bill of 75 percent corn, 21 percent rye, and four percent malted barley.
Tasting Notes:
You’re greeted with dried roses, marzipan, and creamy eggnog on the nose with a hint of apple and dry corn. That apple drives the taste with more orchard fruit (think pears) as the nutmeg really spikes and the marzipan takes on a rosewater note next to a very distant flutter of pepper spice in the background. The finish sweetens with a spoonful of fresh and floral honey as those orchard fruits affix to a mildly spicy and vanilla-forward tobacco leaf.
Bottom Line:
This is a whiskey that punches way above its price point. It’s unique and deeply hewn while still feeling accessible (and very drinkable). I do like mixing this into a nice Sazerac (thanks to the florals) but it 100 percent works on the rocks as a sipper too.
This higher-end whiskey from Jim Beam is a nine-year-old bourbon that’s bottled at a higher proof. The mash bill is the same as standard Jim Beam with 75 percent corn, 13 percent rye, and 12 percent malted barley. It was a no-age-statement bourbon between 2016 and April of 2020. Then Beam brought the age statement back due to popular demand and solid supply.
Tasting Notes:
Buttered kettle corn with caramel meets mild notes of vanilla, worn leather, and a hint of orange zest up top. The sip delivers a very mild peppery spice that never overpowers while caramel corn, vanilla, and slightly musty oak mingle with cherry tobacco with an edge of wintry spice. A soft woodiness leads towards an end that retouches on the orange, cherry-spice, and vanilla while fading away slowly.
Bottom Line:
This expression never disappoints. It’s so easy to drink neat, on the rocks, or mixed into your favorite cocktail (thanks to those amped-up ABVs). Though, I really do prefer it on a couple of rocks.
Anthony Eugene Sheriff, known to people across the Los Angeles area as Sheriff Drumman, had his life turned upside down last December when his truck and drum set were stolen at 4:30 a.m. outside his apartment in Hawthorne, California.
“When I got outside, I had a total panic attack,” Sheriff, 34, told the Los Angeles Times. “I fainted in front of my neighbors. I started screaming, I was calling for help like someone had shot me. It felt like the devastating news of a loved one being murdered.
“It means the world to me,” he said about his music. “Without drums, my life would have went a completely different way. There’s no other way to say it. It’s my therapy, it’s my fun, it’s my life.”
After his truck was stolen, Sheriff immediately took to social media to tell his followers to be on the lookout.
Sheriff’s truck and drums weren’t just for transportation and self-expression, they were his livelihood. He built a special rig in his truck’s flatbed so that he can play drums while being driven all over town. They also allowed him to easily set up and play at Los Angeles Rams’ tailgate parties and in shopping centers.
Sheriff was “discovered” at a gas station and subsequently made an appearance on “The Steve Harvey Show.”
“I went to a part in my life and I said ‘You know what? These drums is keeping me going,'” he told Harvey. “I said, why have a gift being able to do something and not be able to make money from it?”
During the pandemic, Sheriff was playing up to six gigs a day, getting paid $300 a for an hour’s gig.
The truck also had sentimental value. Sheriff spent six years building the rig, handcrafting the metal supports and eye-catching #SheriffDrumman sign that hovers above the makeshift stage.
A few days after his truck went missing, it was located near train tracks on Slauson Avenue. But unfortunately, his drum kit and the elaborate setup he created to play on the truck’s flatbed were gone. Sheriff started a GoFundMe campaign to help pay for the repairs he needed to get working again.
So far, the campaign has earned nearly $20,000.
Last week, Sheriff got a big help from people who understand the importance of music, Metallica. A representative from the legendary heavy metal band caught up with Sheriff in Hollywood and gave him a new drum set.
Videos on Sheriff’s Instagram page show that he did have a kit to play when he received the new set, but as any musician will tell you, one set of drums is never enough.
Sheriff couldn’t believe the band’s generosity. “Man, thank you guys so much,” he said. “Thank you for taking the time and the resources to support and help what I do. I love you for that.”
We’re honored to be able to help out a fellow artist. Keep the music going, Sheriff Drumman!https://www.nbclosangeles.com/news/local/sheriff-drumman-whose-drums-were-stolen-gets-new-set-thanks-to-metallica/2800734/u00a0u2026
Even though Metallica is known for songs such as “Creeping Death” and “Ride the Lightning,” it’s touching to see they still have some love in their dark hearts to help out a fellow musician. Now, it would be great if Sheriff could post a video on his Instagram page of him playing a cover of Metallica’s “Fight Fire With Fire.”
It looks like a new streaming show is slowly making its way up to totem pole, sorry to lovable robot 8D8 from The Book Of Boba Fett. HBO Max’s latest series, Peacemaker is gaining momentum amongst some of the other most popular streaming shows of the moment, including Disney+’s Boba Fett and Netflix’s The Witcher.
The show, which stars John Cena as the titular “peacemaker” is a spin-off of James Gunn’s The Suicide Squad (NOT to be confused with…that other one). The series follows Cena’s Suicide Squad character as he joins a black ops squad to eradicate extra-terrestrial beings.
Peacemaker, also created by Gunn, was the most popular streaming series as of January 22nd, reportedly 69.5 times more popular than other shows, according to Parrot Analytics. Parrot measures audience demand and engagement of a TV series to quantify its popularity.
This is a shock to anyone who watches these shows, or anyone who loves data, since HBO Max notoriously has less subscribers than its competitors. Netflix leads the streaming business with 222 million subscribers, while Disney+ totaled 118 million at the end of last year. HBO Max ended 2021 with just 73.8 million subscribers.
This is a good sign for DC fans, as HBO has several other superhero shows in the works, including Justice League Dark, and Green Lantern (not to be confused with…that other one).
Earl Sweatshirt‘s new album Sick! has become a critical darling in the weeks since it dropped (if not a complete commercial success, debuting at No. 80 on the Billboard 200), but that didn’t stop rapper turned podcaster Joe Budden from utterly trashing it on his show.
Budden denied even listening to the album, using Earl’s relationship with Tyler The Creator to undercut Earl’s impact. “Yo, when your man stop inviting you to the studio, you’re not getting me to listen to what you’re doing,” he said. “Sorry, that’s like a rule of thumb for me.”
However, Earl doesn’t seem fazed by Budden’s assessment — although he did have a clever response. “Its weird that bro didn’t like my mood muzik,” he joked on Twitter, referring to Budden’s fan-favorite mixtape series Mood Muzik and drawing a not-so-subtle comparison between the similar emotional content of both rappers’ catalogs. “LOL what happened twin?”
its weird that bro didn’t like my mood muzik LOL what happened twin?
Earl’s got a point; Budden’s Mood Muzik series could easily be seen as a precursor to many of Sweatshirt’s own beloved, super-introspective albums, as they deal with many similar themes and subjects such as addiction, anxiety, and depression, with both of their output grinding against the grain of the mainstream sounds. Knowing that, it’s unsurprising that Earl chose to take the high road in this case, making Joe Budden’s loud criticisms of his project sound a lot more like sour grapes — something that the elder rapper has been chewing on for a long time.
Earl Sweatshirt is a Warner Music artist. Uproxx is an independent subsidiary.
I meant music, and the pop-punk/rap star decided a cover was the way to get back into the game. He set himself up for a pretty big challenge, though, by deciding to cover Frank Ocean, who is such a beloved creative that he’s a very tough artist to do justice to. Tackling “Swim Good,” off Ocean’s Nostalgia, Ultra mixtape, which was the second single for the release, MGK gave the song a decidedly pop-punk twist. You know how every pop-punk album in the mid-2000s had to have at least one downtempo song with poignant lyrics and some barren acoustic strumming? That’s the direction Kelly went with this cover, departing from the lush production of the original.
Given the song’s fairly dark subject matter about failed love, it doesn’t totally make sense as a cover for a man who is madly in love with his new fiancé, but then again, little MGK does is logical in the first place. When he shared the cover today, Kelly called it “one of my favorite songs,” so clearly he has respect for Frank Ocean.
The “Down By The River” singer wrote an open letter on his website (which has since been deleted) telling Spotify to remove his iconic catalog of music from their service if they choose to continue to spread fake information about vaccines via the Joe Rogan Experience podcast on their platform. The Wall Street Journal reports that Spotify will not honor Young’s request to pull Rogan and have instead moved forward with the formal request to remove Neil Young’s music from the streaming service starting today.
The Hollywood Reporterreceived a quote from Spotify on the matter that reads as follows:
“We want all the world’s music and audio content to be available to Spotify users. With that comes great responsibility in balancing both safety for listeners and freedom for creators. We have detailed content policies in place and we’ve removed over 20,000 podcast episodes related to COVID since the start of the pandemic. We regret Neil’s decision to remove his music from Spotify, but hope to welcome him back soon,” a Spotify spokesperson told The Hollywood Reporter.
Considering Spotify made a $100 million deal with Joe Rogan that ensures that The Joe Rogan Experience appears exclusively on the streaming service, it’s clear where their head is at on this matter. What Neil Young has embarked on could very well trigger a wave of other artists following suit, but that remains to be seen.
Neil Young is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Resident Alien (USA Network & SYFY, 9:00pm) — Alan Tudyk (who genre fans know and love from Firefly, Rogue One, and many more entries) is still a freaking alien in this adaptation of the Dark Horse comic of the same name. If that’s not enough to stoke your curiosity, then please know that he’s also an alien who decides to become a small-town doctor as a cover for his true desire: to murder humans. Somewhere along the way, he decided to reevaluate that mission and then decided to help solve a murder. This week, Harry returns to earth but has no idea what’s up, but Asta does.
Batwoman (CW, 8:00pm) — This episode is called “Toxic,” which puts an interesting spin on Batwoman as she struggles to overcome Jada’s demands. Meanwhile, Mary’s dealing with a new romance while all manner of loyalties find themselves tested.
The Book of Boba Fett: Season 1 (Disney+ series) — The iconic bounty hunter returned, and this week’s episode will follow up on that production error seen ’round the world. That’s part of the fun.
DC’s Legends Of Tomorrow (CW, 8:00pm) — Sara discovers an aberration and Zari and Spooker are both attempting to be less awkward while the rest of the Legends do an actual mission.
The Tonight Show With Jimmy Fallon — Halle Berry, Dave Franco, Dijon
Late Night With Seth Meyers — Cynthia Nixon, Annaleigh Ashford, Del Water Gap, Larnell Lewis
In case you missed this streaming pick from last week:
Too Hot to Handle: Season 3 (Netflix series) — If you want to watch a bunch of beautiful people who are also sexually frustrated, then this is the dating show for you. Netflix is officially describing them as “horned-up hellraisers,” and yes, that sounds perfectly accurate. They’re all banking on being able to abstain from both sexual contact and solo gratification while playing this game for prize money…. and maybe some love? And yes, this one was inspired by Seinfeld. Watch out for those Costanzas.
While Kanye West’s latest single has understandably caused consternation among members of his ex’s household, with Pete Davidson reportedly increasing his security after Ye threatened to beat him up on “Eazy” and Kim Kardashian supposedly barring him from his daughter’s birthday party (he later posted a video from the party, suggesting it wasn’t that serious). However, there’s at least one other person who wasn’t feeling Ye’s “Eazy” bar: radio host Charlamagne Tha God, who called the line “corny as hell” in a new episode of his podcast.
In the song, Kanye references the 2003 collision that left his mouth wired shut (something he rapped about on “Through The Wire”), rhyming, “God saved me from that crash/Just so I can beat Pete Davidson’s ass.” Charlamagne, who hosts the Brilliant Idiots podcast with comedian Andrew Schulz, didn’t varnish his opinion of the line. “I thought Kanye’s bar to Pete [Davidson] was corny as hell,” he said. “I didn’t like it. What happened to Jesus? What happened to God? You weren’t even cursing on your records and now all of a sudden you wanna beat up Pete Davidson?”
Interestingly enough, Kanye went to Charlamagne for a two-hour interview when he was under fire for supporting Donald Trump in 2018 and needed a sympathetic outlet (consider that on the same day, TMZ’s Van Lathan practically cursed him out on live television for his recent shenanigans), but in recent months, it seems even Charlamagne’s patience has worn thin. In August last year, the radio host slated Kanye’s albumDonda, calling it “lackluster,” and now, he’s unsubtly calling out the corniness of Kanye’s latest antics, which is especially unsettling for making me agree with Charlamagne for once.
You can watch the latest episode of the Brilliant Idiots podcast above.
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