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Over the weekend, Lil Baby‘s concert in Charlotte got a little more lively than the show’s attendees anticipated when one fan climbed onstage to try to greet the rising star. You could probably guess how the exchange ended even without reading the headline: One of the stage security guards descended on the overly enthusiastic concertgoer with a flying elbow, knocking him down and proceeding to drag him away. Although the fan’s intentions seemed friendly enough — it looks like he just wanted a handshake — he got a different kind of pound as the confused rapper can be heard wondering, “What the f*ck you doing?”

And look, it’s understandable; we’ve all been cooped up with very little to do for quite some time. However, rarely ever has a fan climbing onstage unbidden yielded anything less than a painful result for them. No matter how bored you’ve been, there’s no reason to believe that the rules have changed, even if the lines between stars and their admirers have blurred a bunch in the “always online” social media era.

Meanwhile, Lil Baby can probably just feel relieved that security handled the situation and that it wasn’t a case of fans throwing things onstage. Another infant-monikered rapper had to dodge a “funky-ass Adidas” at Rolling Loud — although that became the least of DaBaby’s worries considering what followed.

Check out the video above.

Narcos: Mexico managed to be as intense and violent as its predecessor and continued to get high on its own supply in Season 2. However, that batch of episodes came to a resonant close with Diego Luna’s Félix Gallardo quietly yet gleefully warning Scoot McNairy’s Walt Breslin of the circus that the fledgling DEA had inadvertently unleashed with its mega-bust of the Guadalajara Cartel. As Félix put it to Walt, “You’re going to miss me,” and those are ominous (if not fighting) words.

Well, Netflix has now unveiled a first look at that circus with a teaser and a release date for the series’ third (and final) season. Also, this season arrives with what might be the best tagline of all time: “THE FINAL BLOW.”

What a masterpiece. Season 3 streams on November 5. Here’s the season synopsis:

Set in the 90s, when the globalization of the drug business ignites, Season 3 examines the war that breaks out after Felix’s arrest. As newly independent cartels struggle to survive political upheaval and escalating violence, a new generation of Mexican kingpins emerge. But in this war, truth is the first casualty – and every arrest, murder and take-done only pushes real victory further away…

In other words, all of those drug lords who previously agreed to get along and “prosper” in the Season 2 finale were full of sh*t. The Tijuana, Juarez, the Gulf, and Sinaloa cartels all got divvied up with (the now notorious) Chapo Guzmán positioned for a future Sinaloa takeover. In the middle of it all will be Scoot McNairy’s mustache, attempting to fight his own personal demons while fending off an almost entirely fresh cast of bad guys, including one portrayed by Bad Bunny (Benito Antonio Martínez Ocasio) in a guest slot.

Good luck to Scoot’s mustache. Enjoy these new photos, which are full of menacing drug lords and ladies on telephones.

Narcos: Mexico Season 3 streams on November 5.

Last night’s VMAs yielded a bunch of headlines, but one story that flew perhaps a little under the radar is what appears to be an upcoming collaboration between The Weeknd and Swedish House Mafia.

The latter group had some time on stage during last night’s proceedings, and at the end of their performance, The Weeknd’s voice singing “like a moth to a flame” is audible as the text “to be continued” was displayed on stage.

Sure enough, after the performance, both The Weeknd and Swedish House Mafia shared the same teaser clip on social media and tagged each other in their posts, essentially confirming that the pair have some sort of collaborative endeavor on the way.

Beyond that, neither artist has offered any more info about what’s going on here.

This comes after a long time away from Swedish House Mafia, as the group previously broke up but is now reunited. Their most recent album is 2012’s Until Now. As for The Weeknd, he’s apparently in the home stretch of making his new album, as he recently said, “I’m finishing the new album right now. It should be done by the end of this month and we’re just kind of figuring out when to put it out. It’s been really cool because I’m working on this album this summer simultaneously with the writer’s room for the new TV show. So, I’ve been kind of going back and forth from finishing the album and pending up the show that we’re going to start shooting soon. It’s been quite a summer.”

After weeks of teasing us with vague release dates and, well, actual teasers, Succession Season 3 finally has a premiere date, and it’s very soon. According to HBO, the Roys will return on October 17, which is just a little over a month away.

Due to the pandemic, the show’s production schedule was scattered to the wind, leaving fans of the high stakes family drama waiting two whole years before finding out what comes next after Jeremy Strong’s Kendall Roy finally landed a devastating kill shot on his father, Brain Cox’s Logan Roy, after two seasons of failures and possibly deliberate self-sabotage. In Season 3, Kendall is clearly not messing around as he ratchets up his war with Logan, who is not going down easily.

In fact, judging by the trailers we’ve seen so far, Logan will land several hilariously brutal blows on Kendall despite the fact that he might actually be on the verge of being ousted from his media empire by his wayward son. Either way, we can’t wait to see what lavishly a**hole-ish schemes these cretins will unveil when Succession finally returns.

Here’s the official synopsis:

Ambushed by his rebellious son Kendall at the end of Season two, Logan Roy begins Season three in a perilous position, scrambling to secure familial, political, and financial alliances. Tensions rise as a bitter corporate battle threatens to turn into a family civil war.

Succession Season 3 premieres October 17 at 9:00 ET/PT on HBO.

In recent years, music licensing issues have received greater spotlight due to the use of popular music on social content creation platforms like Instagram, TikTok, and Twitch. Usually, it’s in the form of takedown requests, which can affect recorded streams and recently knocked out thousands of TikTok videos using a lofi song that sampled the Steven Universe theme song, but occasionally, users complain that they simply can’t find music from certain artists in the first place. Jay-Z was one of those artists until recently — and apparently, we have longtime radio personality/hip-hop journalist Angie Martinez to thank.

It would have been easy to miss the inclusion of Jay’s back catalog for use on Instagram Stories — and even less likely anyone would have know who to thank — without No Skips host Brandon “Jinx Jenkins, who posted a tweet notifying his followers about the change over the weekend. “fyi: we can use jigga’s music on instagram stories now,” he wrote. “thank @angiemartinez for that!” Martinez herself responded a few hours later, confirming her involvement. “haaa! not really sure how u knew that,” she marveled. “too many great ig stories to be had. you’re all welcome.”

Jay’s music has long been the subject of copyright snags thanks to his former ownership of Tidal. It was only relatively recently that Jay made his music available outside of Tidal, and he still keeps some content Tidal exclusive. However, it looks like even Jay won’t stand in the way of progress for too long, giving fans another avenue to enjoy — and discover, for those younger fans who weren’t around for his mid-2000s rap reign — his classic cuts.

Joe Rogan once praised Howard Stern for being the “motherf*cker [who] opened the door” for all podcasters. Stern might wish he had kept it closed

Last week, the “King of All Media” couldn’t keep it together while discussing the trend of conservative radio hosts being hospitalized with COVID-19 and taking back their anti-vaccine takes on their deathbeds. “It’s really funny when these radio, the radio guys are the best, they’re like four of them died, four of them were like ranting on the air,” he said. “They will not get vaccinated… It was like day after day, they were all dying and then their dying words are, ‘I wish I had been more into the vaccine. I wish I had taken it.’”

Stern wants the vaccine to be mandatory (“Fuck them, fuck their freedom. I want my freedom to live”), while Rogan, the quote-unquote “new Howard Stern,” has been dismissive of the vaccine and treated his recent COVID diagnosis with Ivermectin.

After being roundly mocked for taking literal horse medicine, The Joe Rogan Experience lashed out his critics. “CNN was saying I am a distributor of misinformation,” Rogan said, adding, “I don’t know what’s going on, man.” Howard Stern agrees with that.

“I heard Joe Rogan was saying, ‘What are you busting my balls [for]? I took horse de-wormer and a doctor gave it to me.’ Well a doctor would also give you a vaccine, so why take horse-dewormer?” he said during an episode of his radio show (via Mediaite). He continued, “We have no time for idiots in this country anymore. We don’t want you. We want you to all, either go the hospital, and stay home, die there with your Covid. Don’t take the cure, but don’t clog up our hospitals with your Covid when you finally get it. Stay home, don’t bother with science, it’s too late. Go f*ck yourself, we just don’t have time for you.”

(Via Mediaite)

While we’ve known Netflix’s anime adaptation of the legendary Tomb Raider series has been in the works for quite some time now, the streaming service has done a frustratingly good job keeping all its details under wrap. However, we now know the first cast member tied to the upcoming series, and damn if it isn’t some perfect casting.

According to a Variety report, Hayley Atwell — best known for portraying Peggy Carter across the Marvel Cinematic Universe and in her own television show, Marvel’s Agent Carter — has officially been cast as the voice of leading lady Lara Croft in the upcoming Tomb Raider series. Based on the most recent Tomb Raider video game trilogy developed by Square Enix, the anime takes place shortly after the events of 2018’s Shadow of the Tomb Raider, in which Lara Croft travels to Central America prevent a devastating cataclysm from happening.

While Lara Croft has already graced our screens in nearly a dozen games as well as in three films — the first two starring Angelina Jolie and the latest, Alicia Vikander — this series marks the character’s debut into both television and anime. Largely considered one of the most iconic and influential female video game protagonists of all time, this expansion of the franchise is a pretty big deal to fans as well as the future of video game-based films and television at large. Seeing as how successful Netflix’s The Witcher series has done for the service, our fingers are crossed Tomb Raider finds just as much success.

Tomb Raider is set to be executive produced and written by Tasha Huo with dj2 Entertainment founder and CEO Dmitri M. Johnson, Howard Bliss, Stephan Bugaji, and Tractor Pants president Jacob Robinson all attached as producers as well. As of right now, there is no release date or additional information on the series, though it seems fairly likely we’ll be seeing it sometime next year.

Jack Harlow‘s had a busy year. After blowing up in 2020 with his runaway hit “What’s Poppin,” he kept the momentum going this year with the release of his debut album, That’s What They All Say, and an appearance on Lil Nas X’s Montero smash “Industry Baby.” In between, he got to live out his dream, working with Eminem on the remix to the rap vet’s single “Killer” alongside Cordae.

While on the red carpet for last night’s MTV VMAs where he was set to perform “Industry Baby” with Lil Nas X, Harlow gave an interview to Billboard‘s Carl Lamarre, explaining how the big-name collaboration came to be. Although he said, “We didn’t get to meet,” he did confirm that Em left him a message that he may end up sharing on a future project. “We had a phone call that meant the world to me,” he recalled, explaining just how much it meant to him. “I haven’t shared it with the world yet, but I can’t wait until the world hears it. He gave me a lot of props that any artist would love to get. Sometimes, the best gem is just somebody you admire, letting you know who you think you are. He let me know, ‘You’re that. You’re dope.’ I’ve waited a decade to hear that. So it was special.”

Harlow was recently the subject of a funny Twitter trend when fans noticed a resemblance to Murda Beatz. You can check that out here.

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

There are a ton of video games. Far too many for any one person to play them all, but we all do our best. The problem is that no matter how hard we try we’re never going to actually play all the games we want to play. Some of them are going to slip through the cracks as more and more games come out and jump to the front of the line, and unfortunately, this happens with some true gems. While great games are getting more recognized these days, thanks to the internet and social media, there are still plenty of games that need more love and attention.

Whether you call them underrated, underappreciated, or overlooked, it really doesn’t matter. These games all fall in the category of those that either didn’t receive enough love when they came out or still don’t receive enough love today. Why they’re on the list is going to vary. It might be because it didn’t sell well at launch and became something of a cult classic, or it could be a game that initially wasn’t well-received but gained major accolades later in life. It could be a game that even now not enough people have played. These are those underappreciated classics that everyone should play.

Psychonauts

While everyone has probably heard of Psychonauts by now, thanks in no small part to the release of Psychonauts 2, when it came out it was the definition of an underrated game. Despite having such a unique premise, with the potential to create any world they wanted through people’s minds, it didn’t sell well. Whether the concept was too weird, the art style off-putting, or people were just tired of 3D platformers, it didn’t catch on with fans until much later in life.

It was those fans that allowed Psychonauts to have such a strong comeback. Over the years it reached cult classic status and formed a very strong and dedicated community. It was the efforts of that community, along with an assist from Microsoft, that allowed Psychonauts 2 to eventually release to much critical acclaim. With the sequel a clear Game of The Year contender in 2021, anyone that wants to experience the original can find it readily available these days in places like Steam or on Game Pass. Give it a go, because it’s a great experience.

Earthbound

Earthbound, also known as Mother 2 in Japan, flopped hard in the United States. A mix of poor marketing and a style that was considered dated at the time led to fans choosing newer games over this very fun RPG. These days, Earthbound has a strong following and is considered one of the best games on the Super Nintendo. So how did a game that initially wasn’t received well, even among critics, turn it around? The setting.

When Earthbound was released it was up against the graphics of Donkey Kong Country, the mechanics of Super Metroid, and the story of Final Fantasy VI, three absolute juggernauts of the era. In comparison was this game that western audiences had never seen before, with “worse” graphics, and a modern setting. When they had the choice of what to play they chose fantasy, sci-fi, and new graphics, not the one about four children fighting dirty cops, road signs, and taxis. However, 27 years later and Earthbound feels timeless. The graphics, while not realistic, are colorful and charming. The modern setting is unique, even now, and the writing is genuinely funny. While it might not have the strongest story in the world, Earthbound is a great time because of its reliance on memorable moments and charm. An underrated masterpiece that even now doesn’t get the mainstream love it should.

The World Ends With You

This is maybe the coolest game on this list. Before Square Enix was focused on milking the Kingdom Hearts franchise for every dollar it could get, they released a Nintendo DS only game called The World Ends With You. Everything about TWEWY is cool from character designs, music, and modern Shibuya setting. The gameplay is unique with the player controlling the top and bottom screens at the same time in combat using different control schemes for each. The story is intriguing and interesting but kinda goes off the rails in that classic Square Enix way towards the end.

Some fans would likely argue that this game isn’t that underrated, because everyone who’s played it speaks very highly of it, but unlike other highly praised Square Enix titles this one just kind of came and went. It didn’t get ported many places, a sequel didn’t come out for 14 years, and it wasn’t until recently that Square Enix seemed to remember this game existed. Even when it finally did receive a port to the Switch it was considered a worse version compared to its DS counterpart. This game is underrated because of its missed potential.

Halo 3: ODST

When Halo 3: ODST came out it was easily the least enjoyed of the Halo games. It didn’t have matchmaking multiplayer, the campaign only takes about six and a half hours to finish, and it cost $60 — a little too much for a game that is really just glorified DLC — but time has helped ODST well. The campaign is one of the best of the main games and the move away from Master Chief to the more vulnerable, but still powerful, ODST’s works great. Firefight was fun at the time, and while it probably should have had matchmaking, many hours were spent with friends trying to unlock achievements.

The best part of ODST though is how it chooses to tell its story. The game begins with a team of ODST’s dropping into what they thought was a raid on a Covenant ship, but after that ship jumps into split space the entire team makes a crash landing and is separated. When the player awakens, as The Rookie, it’s been hours and he has to explore the city to try and figure out what’s happened since he’s been unconscious. These sequences are a mix of stealth, action, and exploration and it works very well together. Of course, this is still a Halo game and when the player finds a clue they’re thrust back in time through a flashback to see what the other ODST’s have been doing in levels that are the more traditional Halo affair. It’s a great storytelling mechanic and very fun, not bad for a game that most people didn’t enjoy when it came out just because of price.

Lost Odyssey

One of the biggest weaknesses of the Xbox 360, and that generation of consoles really, was the lack of JRPG’s. The big focus on the time were shooters with franchises like Halo, Call of Duty, and Uncharted dominating. It didn’t help that one of the most highly anticipated JRPG’s at the time, Final Fantasy XIII, flopped and failed to meet fan’s expectations. For many people, the entire generation went by without a single JRPG worth playing. Unfortunately for those people, they missed out on a gem developed by a legend.

Lost Odyssey, an Xbox 360 exclusive, was written by legendary Final Fantasy director Hironobu Sakaguchi. With the music composed by Nobuo Uematsu this may as well have been a Microsoft-published Final Fantasy game. The results sure felt like one, because this is one of the best JRPG’s from that generation of consoles. The characters are well written, the gameplay is fun, and the story is solid. What’s great about it is that it has a combat system that is extremely accessible making it a fantastic choice for someone that hasn’t played a JRPG before. Unfortunately, while the game sold decently well in the West, it sold very poorly in Japan due to the country’s hesitancy to embrace the Xbox. Despite being such a well made game, Lost Odyssey is rarely mentioned in the conversation of best JRPG’s and that’s a shame because it’s a game that needs more attention.

One of the most effective powers of horror cinema is taking the familiar and turning it on its ear to create a vessel of unease — or even outright terror. What if that seemingly innocent child was actually evil? What if, behind those friendly smiles, your neighbors were plotting horrors? What if the man in the mirror actually wanted to kill you?

In a similar manner, contemporary horror master Jordan Peele has found a new use for the most basic and versatile tool in the fear factory toolbox. While his films put novel twists on familiar frights like ambiguous racism and familial strife, he’s shown an equally innovative propensity for transforming our favorite hits, bops, and jams into the stuff of nightmares.

Like the build of tension over the course of the first act, his initial foray into this terrifying territory was subtle and could be easy to miss. It takes place at the very beginning of his first feature, Get Out. The Academy Award-winning debut was a shock in itself when it was first announced. The funnyman from Chappelle Show heir apparent Key & Peele (a misapplied honor in its own right) was going to do horror?

But then the film opens to the familiar tune of Childish Gambino’s “Redbone,” with its ominous admonition to “stay woke,” and it becomes clear that Peele understood more than anyone expected. Of course, that song is an undeniable favorite, handing Donald Glover a Grammy win for Best Traditional R&B Performance with its nods to the psychedelic funk of Parliament and the Family Stone.

In the context of the film itself, though, it serves two functions. One, to establish photographer protagonist Chris’ hip, contemporary awareness of pop culture, placing him firmly in a demographic of young, urban professionals who would be exactly the type to have the song on repeat. It’s no coincidence that this is also the group most likely to be exposed to the sort of wishy-washy, borderline accidental microaggressions that the film’s plot sends up.

But the second service of the song’s placement is that of the audience’s voice in the film, warning the character to watch out. And reflecting the character’s traditional ignorance to our cries in the darkened theater, Chris ignores the plaintive strains of Glover’s vocals, to his own eventual dismay.

And if that instance was the setup, Peele’s next deft disturbance of the musical status quo established him as an expert in not only the use of music to set the spooky atmosphere of a film’s fiendish setting but also in paying off that setup at the height of the film’s action. This time, the song in question is a Bay Area staple, the 1995 Luniz anthem “I Got 5 On It,” which plays in Peele’s follow up 2019 film Us, both the first act in its original form as the Wilson family drives to Santa Cruz for vacation and at the film’s climax when protagonist Addy faces her doppelganger Red in a subterranean fight to the death.

It’s in the second act that the transformation comes, strangling and stretching and stringing out the well-worn beat into something sinister. But this change didn’t even originate within the film itself; instead, Peele and his collaborators later revealed that it had been added to the scene as a response to the enthusiastic reception it received from fans reacting to its use in the film’s trailer, months before its release. The menacing strings and eerie pauses that had been threaded through the song’s DNA like a malignant viral strain had so unnerved audiences that Peele knew it’d be perfect for use in the film’s climactic scene. He was right.

The tactic proved so effective that it was later revisited in the initial trailer for Candyman in 2020, though the film was only produced by Peele, rather than written or directed by him (Nia DaCosta handles those honors this time around, although Peele contributed to the script, as did Win Rosenfeld, his frequent collaborator). The use of the Destiny’s Child 1999 fidelity challenge “Say My Name” cleverly played on the titular killer’s memorable gimmick — in order to summon the Candyman, you must say his name five times in a mirror.

This time, the evocation of Peele’s signature move is like a composer’s confident flourish at the crescendo of his magnum opus. You could say that it’s a rote device, that it’s a crutch, that it’s even (gasp) a gimmick. But in the hands of a horror hero like Jordan Peele, it’s instead a recognizable trademark, as indelible to his work as the hockey mask is to Friday the 13th’s Jason Voorhees or Freddy Kruger’s bladed glove in The Nightmare on Elm Street. Peele wields musical cues — from hip-hop to R&B to revivalist funk — the way Leatherface swings his chainsaw or Michael Myers looms with his kitchen knife. He turns a tool made for the purpose of evoking one emotion into a weapon with which he carves through his audiences’ expectations, bringing screams of both horror and delight.