GoneTrending

Last week, Ted Cruz begged forgiveness from Tucker Carlson after accurately calling those who stormed the Capitol building “domestic terrorists.” His phrasing was “sloppy” and “dumb,” the senator told the Fox News host, and what he meant to say that he was referring to “the limited number of people who engaged in violent attacks against police officers.” No one, not even Carlson, was buying it. It was classic wormy Ted and there were plenty of jokes on Twitter, but Cruz’s former-speechwriter wasn’t laughing.

“By now, you’ve heard about the clip of Ted Cruz groveling for Tucker Carlson’s approval on Fox News. Every last member of the punditocracy has taken a turn dunking on the Texas senator whom everyone loves to hate. Hope they enjoyed it,” Amanda Carpenter, who previously worked as Cruz’s senior communications advisor and speechwriter, wrote for The Bulwark. “Because once you really understand what Cruz is apologizing for, it’s not all that funny.” Carpenter said that the worst part of the interview wasn’t Cruz cowering before Carlson; it was the senator’s “radicalization.”

So while I understand the urge to dunk on Cruz, what happened on Carlson’s show is more than just an example of Cruz’s weaselly pleading being worthy of a laugh. It’s ultimately not funny at all.

Cruz once strove to convey that he cared about justice and truth. He used to believe that violence was violence, and that the rule of law (and the rules of language) should be equally applied.

Carpenter continued, “That’s no longer the case. What he did on Jan. 6th himself last year and what he said on Carlson’s show last week goes far beyond pandering. Cruz’s humiliation is hardly the point. His radicalization is far more frightening.”

She has a point… but it’s still pretty funny.

(Via The Bulwark)

In early 2021, it was revealed that a Ye (then Kanye West) documentary was heading to Netflix, with reports noting that it would “deal with the death of West’s mother, Donda West, and the impact it had on the rapper; his personal evolution in recent years; his successful move into fashion design and his unsuccessful run for President in 2020.” Then, a few months ago, Netflix shared a first-look clip from the film (then titled Jeen-Yuhs), and now, they’ve offered the first official teaser of Jeen-Yuhs: A Kanye Trilogy. They also note “the once in a lifetime three-week global event begins February 16.”

The clips begins with Ye chopping it up with some associates and calling himself a genius… in 2002, well before the release of his 2004 debut album The College Dropout. Elsewhere, there are videos of what looks like Ye post-wisdom teeth removal, working on music, spending time with his mother, and more.

In case you missed it, Netflix has shared a couple other video about the documentary in recent months. After the aforementioned first-look clip, last month, they also shared a ten-minute conversation between directors Coodie Simmons and Chike Ozah (aka Coodie And Chike) about the documentary and their early experiences with Ye. In the clip, Simmons says, “When I started filming Kanye, I’m like, ‘OK, I’m going to just document and see how far he’s going to take his career.’ Seeing him win Grammys, I’m still… […] But then to be documenting Kanye, you understand you’re going to see an array of characters.”

Watch the new teaser video and the aforementioned other clips above.

Following the tragic news of Bob Saget‘s death at only the age of 65, the cast members of Full House have begun issuing statements sharing their heartbreak and love for the TV actor/comedian who played quintessential sitcom dad Danny Tanner on the hit ABC sitcom and its Netflix revival, Fuller House. Saget was famously close with his co-stars John Stamos and Dave Coulier as the three became immediate life-long friends who would routinely show up in each other’s projects and were always open to lovingly prank the other.

“I am broken. I am gutted. I am in complete and utter shock,” Stamos tweeted. “I will never ever have another friend like him. I love you so much Bobby.”

“My heart is broken,” Coulier tweeted. “I love you, Bob. Your forever brother, Dave.”

Candace Cameron Bure, who practically grew up in front of America on Full House, had the pleasure of reuniting with Saget again on Fuller House and shared her appreciation for their time together. Also, joining her are Mary-Kate and Ashley Olsen who issued a rare public statement to mark Saget’s passing.

“I don’t know what to say. I have no words,” Cameron Bure tweeted. “Bob was one of the best humans beings I’ve ever known in my life. I loved him so much.”

“Bob was the most loving, compassionate and generous man,” the Olsen twins said in a statement. “We are deeply saddened that he is no longer with us but know that he will continue to be by our side to guide us as gracefully as he always has.”

Rounding out the tributes is Andrea Barber who played annoying next door neighbor Kimmy Gibler on the original series and reprised her role for Fuller House:

This one hurts. He had the biggest heart of anyone in Hollywood. He gave the biggest hugs. I am gutted that I will never be able to hug him again. Bob ended every text, every interaction with “Love you.” Didn’t matter how long or short we’d been apart. He loved so deeply and so fiercely. And he never hesitated to tell you just how much you meant to him. This is the greatest lesson I learned from Bob Saget – don’t hesitate to tell people you love them. I feel at peace knowing that Bob knew exactly how much I adore him.

Rest well, my dear friend. I have no doubt you are making everyone in Heaven laugh until their cheeks hurt, just as you did here on Earth.

Saget will be missed, not only by his co-stars but the world at large.

Musicians are selling the rights to their music more often than ever these days, it seems, and now John Legend has joined those ranks: Bloomberg reports that Legend sold his copyrights and rights to royalties of his catalog to KKR & Co. and BMG, with each company getting a 50-percent stake. A regulatory filing notes the deal was actually reached in September.

How much Legend earned in this deal was not disclosed. For reference, though, it was reported last week that David Bowie’s catalog had sold for about $250 million. A few weeks earlier, Bruce Springsteen sold his masters and publishing rights for about twice that much. In December 2020, Stevie Nicks sold 80 percent of her publishing for around $100 million and Bob Dylan also sold his for an unknown amount that “was easily in nine figures.”

While Legend isn’t as established as the aforementioned legacy acts, his discography is impressive. In includes four top-four albums (his first four LPs: 2004’s Get Lifted, 2006’s Once Again, 2008’s Evolver, and 2013’s Love In The Future. His seventh and latest album, Bigger Love, was released in 2020. He also had a No. 1 single in 2013 with “All Of Me,” and other recognizable hits include “Ordinary People” and the Andre 3000 collaboration “Green Light.”

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

Only a few short months ago, Bob Saget paid beautiful tribute to his friend, Norm MacDonald. He also recently reacted to Betty White’s death with reflections about the afterlife (“I don’t know what happens when we die”), and sadly, the world learned on Sunday that Saget passed away at the age of 65. His cause of death is not yet known, and although the coming days and weeks will see many tributes to his life and legacy, there’s a particularly poignant remembrance at the forefront.

Pete Davidson (he no longer does social media on his own) recruited the Instagram-posting ways of SNL writer Dave Sirus. He posted a tribute from Pete about Bob, who Pete “just wanted you guys to know” was truly “one of the nicest men on the planet.” Davidson, who previously spoken openly about his struggles with borderline personality disorder, revealed how instrumental Bob was to his recovery.

“When I was younger and several times throughout our friendship he helped me get through some rough mental health stuff,” The King Of Staten Island actor revealed about a previously unknown outreach from the Full House star and comedian. “He stayed on the phone with my mom for hours trying to help in anyway he can – connecting us with doctors and new things we can try. He would check in on me and make sure I was okay.”

Pete then declared, “I love you Bob it was an honor to know you. Thank you for your kindness and friendship.” He added, “My condolences to the family.” You can read Pete’s full tribute to Saget below:

It’s been 12 years since the last jackass movie, but the delay between when jackass forever was supposed to come out (March 5, 2021) and when it’s actually coming out (February 4, 2022) seems much longer. The wait is almost over, though.

Paramount has released the final trailer for the fourth jackass movie starring Johnny Knoxville, Steve-O, Chris Pontius, Dave England, Wee Man, Danger Ehren, and Preston Lacy, as well as newcomers Sean “Poopies” McInerney, Zach Holmes, Eric Manaka, Jasper, and Rachel Wolfson (Eric Andre and Machine Gun Kelly are in there, too). It features many of the stunts seen in the first trailer (you don’t want every nut shot spoiled), but there’s new footage, too, including Ehran facing off against MMA fighter Francis Ngannou and an exploding portable toilet. “If they trust us to go to the bathroom, they’re less intelligent than I thought.” I may never use the bathroom without fear again.

You can watch the trailer above. Here’s more:

Celebrating the joy of being back together with your best friends and a perfectly executed shot to the dingdong, the original jackass crew return for another round of hilarious, wildly absurd, and often dangerous displays of comedy with a little help from some exciting new cast. Johnny and the team push the envelope even further on February 4 in jackass forever.

Remember: the jackass movies are cinema.

Did you know the Golden Globes were on Sunday? It’s true.

You’re forgiven for not realizing this considering the wealth of other, better things to watch last night, including the return of The Righteous Gemstones, Yellowjackets, and a very exciting football game. It’s not like you could have watched the Globes, anyway: there wasn’t a televised ceremony due to the pandemic, or even a live-stream with famous people on Zoom. The winners were announced on Twitter, which surely even the controversy-riddled Hollywood Foreign Press Association couldn’t screw up.

They screwed it up.

Steven Spielberg’s West Side Story won Best Motion Picture – Musical or Comedy. Here’s how the Globes made the announcement: “If laughter is the best medicine, [West Side Story] is the cure for what ails you.” That tweet has major “tell me you haven’t seen West Side Story without telling you haven’t seen West Side Story” energy. The Globes later deleted and updated the tweet (“laughter” was replaced with “music”) and mocked themselves for the [Succession voice] bad tweet using a GIF of Hugh Laurie saying, “Thank you, this is obviously a terrible mix-up,” but there was more chaos elsewhere.

Other winners include The Power of the Dog for Best Motion Picture — Drama, Succession for Best Drama Series, Hacks for Best Musical or Comedy Series, and Drive My Car for Best Motion Picture — Non-English Language.

Grimes is still working out the details for her upcoming album Book 1, but she’s also making some tentative plans for the project she might release after that. Alongside a selfie Grimes shared over the weekend, she wrote, “After my albums out I have like a 35 track nightcore album I’ve been making since 2015 that I think rly needs to come out i don’t think it makes a ton of sense but it’s getting so absurdly long lol.”

Fans who want to hear nightcore Grimes actually already have, as she dropped a nightcore remix of her own “We Appreciate Power” in 2019. A full-blown nightcore album has actually been on Grimes’ mind for a while now, as she said in 2020, “I keep being like, ‘Would it be a huge problem if I released a nightcore album?’”

As for what nightcore even in, Urban Dictionary notes, “Nightcore is characterized by a sped-up melody (sometimes), fast rhythmic beat (usually), and ALWAYS higher than normal pitch. Almost all nightcore music are original songs nightcored (remixed into nightcore) by nightcore fans.”

This all comes after Grimes teased a career pivot, as she tweeted towards the end of 2021, “Celebrity culture is suffocating a f. I’m not quitting music, but def changing my main day job after BOOK 1. Music industry feels old and tired, reliant on archaic systems.”

The previous teaser for Bel-Air, the Will Smith-produced Fresh Prince of Bel-Air reboot, already previewed a different tone than the comedic original. In this full-on trailer, though, things truly get gritty (because no one can resist that these days) and legitimately dark with the following tagline: “You know the Banks family, but not like this.”

From there, we see much of what happened on those Philly streets. Roughed-up squabbles and gunfire and police and a jail-cell death threat. In short, Will truly was going nowhere fast, so that led Uncle Phil to bring his nephew to California “for a better education” and (probably) some fresher threads. That’s the official story, and that appears to be where the darkness begins to ebb, and oh boy, there’s another new Aunt Viv. From the the official synopsis:

Set in modern-day America, Bel-Air is a serialized one-hour dramatic analogue of the 90’s sitcom “The Fresh Prince of Bel-Air” that leans into the original premise: Will’s complicated journey from the streets of West Philadelphia to the gated mansions of Bel-Air. With a reimagined vision, Bel-Air will dive deeper into the inherent conflicts, emotions and biases that were impossible to fully explore in a 30-minute sitcom format, while still delivering swagger and nods to the original show.

Smith executive produces here, and Bel-Air snagged a prime premiere spot: Super Bowl Sunday. Peacock will premiere three episodes on launch day, and the rest of the show will roll out on a weekly basis.

The Chargers and Raiders played the final game of the NFL regular season and produced arguably the best game of the season, with Las Vegas winning a thriller, 35-32.

The Raiders led by 15 with five minutes to go in the game, but from there the Chargers would go on a 15-0 run that was aided by five fourth down conversions, all of over six yards, on their next two drives, including a touchdown on 4th and 21 and a touchdown with no time left on the clock in regulation — both ridiculous throws by Justin Herbert.

It was one of the greatest fourth quarters of the season, aided by the added intrigue that both teams would advance to the playoffs with a tie after the Colts lost to the Jaguars in a stunning result earlier in the day. With Pittsburgh beating Baltimore, all they needed was someone to win to make the playoffs, but a tie would’ve put both L.A. and Vegas ahead of them for the final two wild card spots. There was some hope on corners of the internet for a Kneel-Off for the Playoffs, but what manifested in Las Vegas was significantly better than that.

In the overtime period, both teams kicked field goals on their opening possessions, with more fourth down magic from L.A. to set theirs up, and as the clock wound down, the Raiders moved the ball to midfield. Once there, they seemed content to run out the clock until Chargers coach Brandon Staley seemed to panic over the thought Vegas may not just let it roll to zeroes and called a timeout with 38 seconds left. From there, the Raiders ran it again, but this time Josh Jacobs bolted well into field goal range and, rather than letting the clock run out, Vegas called a timeout with two seconds left to trot the automatic Daniel Carlson out for the game-winner.

In his walk-off interview, Derek Carr said the Chargers timeout led to a change in plans for the Raiders, who still may have played for the win but certainly were jolted into pursuing the first down a bit more aggressively as there was no longer a guarantee L.A. would’ve let the clock roll if they got stopped short.

Raiders players even seemed to tell Chargers players the plan changed after the timeout, and the handshake at midfield between Rich Bisaccia and Staley was a bit icy after Staley seemed to balk.

As for the two coaches, Bisaccia seemed to indicate the Raiders were trying to set up a field goal while also content to let things run out should they not get into a comfortable range, while Staley said they weren’t comfortable with their personnel and wanted to get a better run look on the field (which obviously didn’t work out.)

While the timeout is bad optics, the real issue for L.A. was their inability to get Jacobs on the ground short of the sticks. It’s hard to imagine Vegas wanting to run the risk of a 55-plus yard going wrong, but once they were well within Carlson’s range at 47 yards, it was an easy choice.

We’ll obviously never know for certain what the plan was from Las Vegas, but the optics for the Chargers aren’t great considering how things panned out after the timeout. Now, the Raiders will head to the playoffs and the Chargers will watch from L.A., thinking about what could’ve been.