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Ariana Grande Is Taking A Break From Recording Music To Explore ‘New Versions Of Storytelling’

The past few years have been impressively productive for Ariana Grande, as she dropped new albums in 2018, 2019, and 2020. At the moment, though, she’s not focused on music, as her attention is on her new R.E.M. Beauty cosmetics line. In fact, it appears she’s in the midst of a break from music at the moment, as revealed in a new Allure feature.

The piece is mostly centered on Grande’s cosmetics line, but there’s one section of it that pulls back the curtain on what Grande’s up to now aside from that. It says she’s been “taking a break from recording” music lately to explore “new versions of storytelling,” as she puts it. She seems to be making a push to get more into acting again, as she’s currently “working with an acting coach who trains leading ladies.” That section of the feature also notes her judging gig on The Voice and her Fortnite virtual concert.

She also addressed her thoughts on the “crowded” space of celebrity cosmetics lines, saying, “I’ve thought a lot about this, of course, because I don’t want to just hop onto any bandwagons ever. I think that… I wear my peers’ makeup as well, just like I listen to their music. I’m not going to say, ‘Oh, there’s too many female artists.’ I love and I’m [a] huge fan of my peers that do both, and I think that it’s just another way to tell stories. Because you can never have enough makeup, just like you can never have enough music.”

Read the full feature here.

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Blackpink’s Lisa Shares An Ultra-Maximalist Video For Her New Solo Track ‘Lalisa’

Blackpink rapper/singer Lisa has released her debut solo album today, and to celebrate, the Thai-born K-pop performer has released an exhilarating new music video for the title track, “Lalisa.”

Over the course of three-and-a-half minutes, Lisa rap-sings through city streets before decamping for the desert, where she and a crew of backup dancers bust moves and ride dirt bikes. (Because, why not?) Finally, the ultra-maximalist clip gets Lisa back indoors, wearing a headdress and on a literal throne. In summary, this is pretty much everything you’d want a pop music video to be: costume changes galore, bonkers dance routines, super-slick sets, etc.

Speaking to Billboard about what she learned making a solo album, and what she can bring back to Blackpink, Lisa said, “The number one thing is the confidence I learned throughout the whole process of preparing my solo. When I’m with the other members, we rely on each other a lot. There’s a lot of things I learned during my solo prep that include things like leadership — I have to make all these decisions on my own. I hope I can carry this back into the group when we promote together.”

She also opened up about how dance “is kind of a universal language,” adding, “Take Latin music, for example — you may not understand what the artists are saying, but you feel that energy. Even with my music, people might not understand what the lyrics are, but listening to the beat and seeing the dance, they can feel the vibe and have that connection.”

Watch “Lalisa” above. Lalisa is out now via YG Entertainment/Interscope Records. Get it here.

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Jordan Poole’s Ability To Do An Admirable Steph Curry Impression Makes Him An Important Piece For The Warriors

Many players have been better than Jordan Poole currently is during Steve Kerr’s seven years as head coach of the Golden State Warriors. But never, over that span, has this team rostered a player who resembles Stephen Curry’s off-ball scoring package like Poole. This is not, of course, a proclamation that Poole is the next Steph, nor am I positing that Poole is a more lethal off-ball scorer than healthy Klay Thompson. I’m talking stylistically, and the film testifies to that.

Watch this clip.

It’s nearly impossible to not spot shades of Steph in that bucket. The jitterbug motion and lively footwork. The rerouting to flummox defenders. The pop-gun jumper without a moment of hesitation. Adding a zero to the back of Poole’s jersey would deceive lots of people.

Suggesting these similarities 6.5 months ago was far-fetched. Poole struggled mightily as a rookie, averaging 8.8 points on 45.4 percent true shooting (.333/.279/.798 splits). The Warriors, short on high-end talent, were en route to a top-three pick. The speed of the NBA seemingly overwhelmed him and he endured a season-long cold spell from deep. Even the start of his second campaign saw him relegated to deep bench minutes, aside from an occasional brief cameo.

But then, following 11 games with the Santa Cruz Warriors in the G League Bubble, where he posted a 22-5-3 line on 64 percent true shooting, Poole returned and was primed to carve out a major role on a playoff contender. Across 35 post-All-Star break games, the second-year guard averaged 14.4 points, 2.4 assists, 1.2 turnovers, and 2.0 rebounds on 57.1 percent true shooting (.426/.348/.869 split), including nine outings with 20-plus points.

Outside of Curry, Golden State predominantly lacked floor-spacing and offensive vigor. Poole provided both. While his on-ball exploits still require blossoming, he presented a level on- and off-ball duality necessary for the Warriors offense.

He’s already a legit movement shooter, capable of sprinting into jumpers, seamlessly squaring his body and firing from contested or unorthodox angles. He takes efficient angles around picks and has dexterous footwork to set up plays. According to Synergy, he ranked in the 74th percentile off screens, empowering the coaching staff to deploy him in numerous ways, many of which emulate Curry’s off-ball usage. Split actions, slide screens, pindowns, and screen-the-screener schematics are all featured. If there was ever a Curry facsimile on this Warriors team over the last seven years, Poole is it, at least as an off-ball venturer.

Poole’s off-ball similarities to Curry are not confined to the specific play-types Kerr and Co. construct for him. He’s a shrewd player independent of the Xs and Os, slipping picks as a cutter, darting backdoor, and frequenting gaps in the defense to fashion ideal scoring opportunities. Sometimes, this was muted in lineups alongside poor passers (and not particularly perceptive offensive players) such as Andrew Wiggins, Kelly Oubre Jr., and James Wiseman. But letting him cook off the ball while pairing him with Draymond Green, Juan Toscano-Anderson, and Kevon Looney was the proper platform to succeed instinctively. On-ball advantage creation is the most valuable league-wide (usually), but Poole carves out equity as an off-ball advantage creator via feel and timing.

Until Thompson returns, the Warriors should run a Curry-Poole-Wiggins-Toscano-Anderson-Green lineup to close many games. It’s probably a grouping their five best players, at least based on last season (but maybe Otto Porter Jr. or Nemanja Bjelica change that). There’s a concordant ethos among the quintet to thrive on both ends.

Last year, according to Cleaning The Glass, lineups with both Poole and Steph on the floor generated a plus-18.2 net rating across 473 possessions. That’s far too small of a sample to utilize predictively, but conceptually, it’s clear why those units inflicted so much damage for opponents. Increasing the volume moving forward and ratcheting up their two-man game — note the quality of these two looks! — seems prudent.

Poole and Steph are tailored to succeed in Kerr’s movement, screening, and off-ball-heavy attack. Flanking them with heady ball movers/cutters/screeners such as Green, Toscano-Anderson, Looney, and Damion Lee can optimize those minutes offensively and gives impactful defenders with varying skills significant burn.

For Poole, though, it’s not just about the shooting. He’s diverse and adept in that regard, but the primary distinction between year one and two was his interior efficiency. He shot 39.2 percent on two-pointers as a rookie and 54.5 percent in 2020-21, when he showcased finishing and intermediate craft. Per Cleaning The Glass, he shot 67 percent around the rim (87th percentile) and 43 percent between 4 and 14 feet (60th percentile), demonstrative leaps from the 48 percent and 38 percent clips, respectively, of a year prior.

At the cup, he embraces contact against bigs, uses his frame to shield himself from rim protectors, and can convert with either hand in an assortment of ways. He boasts brilliant footwork to tilt defenders out of position, wields crafty changes of pace, and leverages his jumper with shot fakes to threaten defenders. Although his handle is a limited in traffic, he weaponizes it to prime screens and drive defenders into them with the proper load time to string dribble moves together. There’s much to like and admire about his finishing portfolio and processes.

The reason his footwork, change of pace, and off-ball movement are critical to his creation is his traditional methods of advantage creation do not stand out as clear pluses. His burst is not particularly noteworthy, underscored by a 22 percent rim frequency (32nd percentile) and .251 free-throw rate last season. His handle in narrow quarters can often be a hindrance and a prominent source of turnovers. He is quite weak in his lower body, which hamstrings his stability and capacity for generating force.

When his footwork or pre-screen handling are not effective means of forging seamless advantages, he fails to achieve one because of an underdeveloped and unstable lower body. Adding lower body strength, ideally somewhat boosting his explosiveness, would likely be a sizable boon to his creation ceiling.

Streamlining some passing consistency would benefit his on-ball aptitude, too. Currently, he’s a bit shot-happy and will not consider lobs, laydown passes, or kick-outs as a downhill operator. In ball-screens, he has a proclivity to not account for the roller, whether it stems from missing pocket passes or complicating their path to the rim on his own drives. He’s also a bit sloppy on some deliveries. Whereas his cadence enables him when he’s wired to finish, he can assume a one-speed approach and miss chances to feed big men inside or spray passes to open shooters beyond the arc.

The passing warts are not always prevalent. He hints at versatile, nifty playmaking derived from his scoring gravity. That should be an emphasis for his development, given the shot-making and scoring baseline he established in his age-21 season. It feels reasonable to project that he’ll consistently command defensive attention when the ball is in his hands, which should simplify his reads.

Learning how to consistently open up lobs because of his floater (69th percentile on runners last season, per Synergy) is valuable. Perfecting the standard pocket pass when two defenders engulf him off the catch would serve him wisely. Based upon his off-screen proficiency and general off-ball intelligence, it seems like he’ll routinely be open in spaces from which he can comfortably score, which will prompt defenses to sell out. Becoming both a reliable passing and scoring threat in those spots is an important development. I’m tepidly confident he will and being an understudy to Steph, the NBA’s foremost practitioner of turning immense shooting gravity into facilitating, only reinforces that belief.

Passing growth would unlock more pick-and-roll viability. The limited handle, burst/lower body strength, and distributing vision coalesced to produce consistent record-scratch moments for him in ball-screens last season. He ranked in the 32nd percentile as a pick-and-roll scorer and when passers are included, he finished in the 34th percentile. Too often, he’d fail to pressure the defense around a screen, either because his handle was disrupted or he didn’t have the zip to turn the corner. Instead, he’d retreat or resort to a poor decision.

Expanding his pull-up game to these pick-and-roll scenarios might really augment potential passing strides. He averaged roughly 2.5 pull-up attempts per game last season, and though efficient results weren’t there (45.5 percent on 2s, 29.2 percent on 3s), the flashes of comfort inspire hope. Mere refinement as a shot-maker remains an underrated aspect of development and Poole has exhibited a baseline of fluency to suggest it’s relevant here.

He’ll need to touch up that handle to broaden the scope of his pull-up, but a bedrock exists. Among 162 players with at least 100 pull-up attempts last season, he ranked 99th in effective field goal percentage (44.6). That is not good, of course, but the film just portrays someone whose confidence is ahead of his ability. It’s largely a matter of merging those aspects, which he absolutely can, though it’s by no means guaranteed. These clips, however, are the look of someone whose pull-up evolution is certainly attainable.

For all the reasons to praise his offense in the interim and long-term, his defense is much more concerning. Offensively, he is already good enough to offset those concerns as it pertains to a rotation role. But without development in some or many of the areas articulated above, his defense remains a glaring issue. There are instances of competency. He’ll stymie a drive and force his assignment to reassess their plans. He’ll execute a timely rotation to engender a pass or more challenging shot. Those are blips on the radar, though.

He has to improve in various facets. His closeouts are ineffectual. He’s overly jumpy against shot fakes. As a weak-side defender, he’s slow tagging rollers, is susceptible to losing his man if they lift along the arc, and dabbles in ball-watching too much.

Because of his lack of lower body stability, he typically fails to get low prepping for screens and finds himself trailing plays. Flexibility and fluidity around picks are not his strong suits. His lateral mobility, both on the ball and in off-ball ground coverage situations, is poor. The defensive film paints a dissatisfactory picture.

Fortunately for Poole and the Warriors, this context has the defensive infrastructure to mitigate most of these issues on a broad spectrum and also needs his offensive services. Last season, they finished fifth in defensive rating and 20th in offensive rating, despite Curry being, well, Steph Curry. Poole’s contributions are vital to staying relatively afloat offensively (Klay should help, too).

As contexts shift, though, Poole must sharpen areas on either side of the floor — whether it’s his handle, pull-up volume, or various defensive problems — to graduate beyond rotation player status. To be clear, though, that is already an excellent outcome for the 28th overall pick.

Looking ahead to the imminent 2021-22 season, Poole is going to be critical for Golden State. He complements its best player beautifully on offense and fits snugly into its overall philosophy. By no means does he determine its success, but a sustained breakout or lack thereof seems like the sort of storyline that could explain the Warriors’ Western Conference standing come April.

And this is, perhaps, both a laudatory and pressurized sentiment for a player whose rise is still only in the foundational stages. But it’s a promising foundation and one that previewed the blueprint of a highly versatile and skilled offensive player, someone who the Warriors and their fans should be rather optimistic about moving forward.

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Seth MacFarlane Is Very Unhappy With Fox, But ‘Family Guy’ Isn’t Going Anywhere

Seth MacFarlane has a love-hate relationship with the Fox Corporation — Family Guy being canceled twice has something to do with it — but lately, he’s been public about his distaste for the media empire.

“Tucker Carlson’s latest opinion piece once again makes me wish Family Guy was on any other network. Look, Fox, we both know this marriage isn’t working anymore. The sex is only once a year, I don’t get along with your mother, and well… I’ve been having an affair with NBC,” he tweeted last month, referring to his $200 million deal with NBCUniversal. MacFarlane also pointed out the hypocrisy of Tucker Carlson being allowed to share dangerous misinformation, but Peter Griffin not being allowed to say “goddamn.”

But despite MacFarlane’s vocal contempt for Fox, Family Guy isn’t going anywhere.

“We have [The Simpsons, Family Guy, and Bob’s Burgers] for a few more years, and we expect to keep them as part of our lineup and part of the brand of our animation strategy for the time being,” Michael Thorn, Fox’s entertainment president, told Deadline. “The Simpsons is still playing at the top of its game and so is Family Guy and not to mention, of course, Bob’s.” I’m still waiting for that Bob’s Burgers movie, though…

With MacFarlane having bolted to NBCUniversal, Fox is going to squeeze every last penny out of Family Guy; once it’s over, that will be the end of a lucrative decades-long relationship. The animated show has been renewed through season 21 (season 20 premieres later this month), but expect many more episodes to come. It’s only 13 seasons behind The Simpsons!

(Via Deadline)

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She’s looking for people her dad helped on 9/11. The story itself is a timeline cleanser.

Uplifting stories involving the 9/11 terrorist attacks can be hard to come by. Even the incredible, inspiring stories of heroism from that terrible day usually include a backdrop of planes exploding and buildings collapsing, narrow escapes and near-death experiences, traumatic images and collective grief. Such stories are important, of course, but we wouldn’t exactly call them “feel-good” stories.

This 9/11 story is different. It’s a story of simple human kindness towards people who weren’t right in the thick of the attacks but who were directly affected by them nonetheless. It’s a reminder that thoughtful, everyday actions by thoughtful, everyday people can have a meaningful impact in the lives of people they come in contact with.

Mercedes Martinez is the host of a Las Vegas area morning radio show, and she shared a story on Twitter about what her dad did to help seven strangers get home after flights were grounded on 9/11. She’s hoping to find the seven people, but just reading about what her dad did is enough to restore a bit of faith in the goodness of ordinary people.


She wrote:

Did my dad help you on September 11, 2001? If so, I’m trying to find you. (a thread)

On September 11th, 2001 my dad caught a flight in Ohio to fly home to Denver. He was there on business and was anxious to get home to see his family.

Shortly after takeoff, the pilot announced that the flight was being grounded. There was a breach of security and they had to land at the nearest airport. That airport was in Omaha. The pilot said he was hoping to have more information for the passengers when they landed.

My dad knew something was wrong, so as soon as he got cell service, he called one of the rental car companies and asked to rent the biggest van they had. At this point they were still in the air.

When he deplaned and heard what was happening, he made his way to either Avis or Hertz (we aren’t sure which one he called), got the van, parked, and went back to the terminal. He found a cardboard box by a trashcan and asked to borrow a sharpie from a ticket agent.

He made a sign out of the box that said “GOING TO DENVER” on it. People started approaching him asking if he was going that way. He said yes, he rented a van and he would be able to take 7 people with him. Word started to get around.

He found 7 strangers, all scared (so was he), that just wanted to get home to their families.

The 8 of them hopped in and my dad drove them from Omaha to Denver. When they got to the metro area, he drove every single person to their home.

If you know the Denver area, it’s big. There are many suburbs in the area. But each one got front door service. They all offered to pay him for the cost of the van. He wouldn’t accept it. They offered him gas money. He didn’t take it.

To him, seeing those people make it to their families when the country was being attacked was the only thing that mattered to him. Many of those people kept in touch with him for several years after 9/11/01. It warmed his heart. We were so proud of him. We still are.

My dad died from brain cancer on July 24, 2016. I often wonder if those people still remember him. I wonder if on the 20th anniversary of that day, will they think of him for a split second when they reflect on where they were?

I know social media is powerful and I’m really hoping this tweet finds those people. I’d love to hear about that drive. His name is Emilio. And I know there were so many heroes that day. I am grateful for each and every one. My dad has and always will be my hero.

And I do believe my dad was a hero to 7 people that needed to get to their families in Denver on September 11th, 2001. If you were one of them, please DM me.”

Indeed, that quick-thinking, thoughtful, and generous act was heroic. Thank you, Emilio, for exemplifying sheer human decency and kindness. And thank you, Ms. Martinez, for sharing your dad’s story.

Martinez post the story last night, and as of this writing, there’s been no update that any of these people have been found yet. Let’s utilize the power of social media to see if we can get her connected with the people her dad helped.

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Jake Gyllenhaal Is Tremendous In Antoine Fuqua’s ‘The Guilty’

The Guilty, which serves as an American remake of a 2018 Danish film (which I have not seen), and the second collaboration between director Antoine Fuqua and star Jake Gyllenhaal, after 2015’s Southpaw. Gyllenhaal’s performance is tremendous, though I have a hard time seeing him getting the credit he deserves here. This movie is truly all Gyllenhaal and it lives and dies based on him (spoiler, it lives). To the point, an actor needs a certain level of chutzpah to even attempt something like what Gyllenhaal does in The Guilty. It’s truly all him.

With a screenplay by Nic Pizzolatto, The Guilty starts, and ends, with Gyllenhaal’s Officer Joe Baylor on the phone. He’s sitting in an LAPD command center taking 911 calls, but we get the sense quickly this isn’t his regular job. Something happened, taking him off the street, and the details of what happened – certainly nothing good since reporters keep calling him for comment and a court appearance the next day is often referenced – are filled in as the movie goes along.

Joe gets a call from a woman named Emily (voiced by Riley Keough) who insinuates she’s been kidnapped and is in a movie vehicle. She called 911 pretending to be calling her young daughter and Baylor picks up on this, only being able to communicate with yes or no questions, because the man who kidnapped her can hear everything she says. The movie quickly transforms into a puzzle, as Joe uses all his resources to figure out who this woman is, who has taken her, and where they might be going. The plot itself isn’t unique: a beleaguered cop has to track down a kidnapped woman. But what makes it unique is Joe does it all from behind a desk and on the phone.

It’s a remarkable experience because what this movie does is allows a viewer’s imagination to create scenes. Joe is on the phone with other officers when they check residences for clues, and we only hear the audio of what’s going on at those locations, but I remember them as fully formed scenes. A person’s brain just kind of takes over and fills in the grizzliest of details, making for an unsettling experience, even though we aren’t seeing much of anything except Gyllenhaal’s facial reactions to what we are all hearing. And it’s why Gyllenhaal is so masterful in this role. He knows our entire visual experience, what we imagine, will be dictated by his face. It’s quite a thing.

I’m a big fan of Antione Fuqua’s movies. He’s got the flair for action, of someone like Tony Scott, but with an undercurrent of social issues, when he wants to. And sometimes he wants to and sometimes he doesn’t, which makes me admire him even more. The Guilty is Fuqua’s third movie that focuses on police officers and, yes, he certainly has something to say this time. Though, from what I can tell, the plot of the film follows the original film closely, but there’s a reveal that feels uniquely like an American issue. Again, the main plot of the movie is about Joe Butler trying to solve a crime, but there’s an undercurrent here that taps into a lot of what we saw last summer. To the point that I don’t know how this movie works without it.

But, again, this is Jake Gyllenhaal’s show. He’s not just in every scene, he’s in at least 90 percent of the movie just by himself, talking to people on the phone, trying to figure out what happened to this woman, the night before what’s going to be one of the worst days of his life. This movie was filmed last November, before we had Covid vaccines and we had to rely completely on distancing and testing. I do wonder if the movie would be any different if it was not filmed under those conditions. Since it focuses so much on Gyllenhaal on his own, it is kind of the perfect movie to try and make during a pandemic. Maybe the circumstances were a happy accident for the movie. Maybe in normal times (whatever that means now) we’d have seen some of those external scenes, taking that away from our imaginations. Maybe it’s less harrowing because of that. Maybe the most disturbing thing we can watch in a movie like this is Gyllenhaal’s face react to the horror. Regardless of how it happened, it certainly worked.

‘The Guilty’ will stream via Netflix on Friday, October 1. You can contact Mike Ryan directly on Twitter.

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A Washington D.C. Congresswoman Put Out An Official Statement Denying That She Released The Six Zebras That Are Currently Running Amok In The Suburbs

For the better part of a week, a pack of zebras has been on the loose in Prince George’s County, Maryland, and Washington D.C. Congresswoman Eleanor Holmes Norton wants the record to show that she has absolutely nothing to do with it. While there have been no press reports of any kind accusing Norton of being responsible for zebras running wild in the D.C. suburbs, she cites talk of her prior opposition to “unnecessary fences” as a reason for locals to view her as a suspect. Have we mentioned this all hilariously weird?

Via Norton’s official campaign site:

“Local news has reported that the zebras were let loose on Saturday or Sunday of last weekend, a period of time during which I was enjoying quiet time at home with family,” Norton said. “My alibi is solid, but given my career of fighting for statehood for the District, which includes years of explaining the importance of having consent of the governed, and given my recent opposition to fences, I can understand why the charge was made. I hope the owners find the zebras and that all involved live long, full lives.”

According to FOX 5 DC, Prince George’s County police say they started receiving increased calls about the zebras roaming around just before the Labor Day weekend. The first call came in on August 31, so God knows how long the zebras have been loose, and what they might be plotting.

(Via Congresswoman Eleanor Holmes Norton, FOX 5 DC)

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‘Eternals’ Director Chloe Zhao Says She Pitched Marvel Using Stills From Denis Villeneuve Movies Like ‘Sicario’

There’s something incredibly refreshing about two creatives being mutual (and quite vocal) fans of one another, and one of the latest and greatest duos to do so are directors Chloe Zhao (Eternals, Nomadland, The Rider) and Denis Villeneuve (Dune, Sicario, Blade Runner 2049, Arrival). The pair — both known for the visionary and immersive works they’ve created in the last year — each have new and hugely anticipated movies coming this winter: Marvel’s Eternals for Zhao, and Dune for Villeneuve.

In a recent interview from Harper’s Bazaar framed as a conversation between the two directors, Villeneuve gushed to Zhao about her work, calling him her “biggest fan.” Zhao then reciprocated the love, admitting to Villeneuve she actually used still from his films to convey to Marvel her vision of Eternals:

“I would like to apply for a job on your set to be your assistant. You know, when I went to pitch Eternals, I had stills from your films as references. I’m naturally drawn to filmmakers who have a very strong hand in world building. When I watch your films, even though they’re of different genres, from Sicario to Arrival to Prisoners and then Blade Runner 2049, you managed to build such visceral worlds I can feel and almost touch.”

Based on what we’ve seen of Eternals so far, it feels fairly easy to see just where Zhao drew inspiration from Villeneuve. The muted yet intense trailers have a similar feel to films like Arrival, and show a different approach to filming a Marvel movie.

The pair then proceeded to talk about Villeneuve’s recent comments on the failures of streaming movies intended for theater and how they’re both putting all their money on IMAX as the future of cinema. You can read the full interview here.

Villeneuve’s Dune hits theaters and HBO Max on October 22, 2021. You can catch Marvel’s Eternals n theater’s shortly after, on November 5.

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Zion Williamson Gives Back So He Can Never Forget Where He Came From

Zion Williamson has been one of the biggest names in basketball since he was 16 years old and became a viral sensation for mesmerizing highlight videos of his high school games.

Now two years into his NBA career, Williamson has proven that he’s far more than a dunk and highlight machine, as he has already established himself as one of the league’s most efficient and dominant interior scorers. Williamson’s presence has injected some needed life into the post-Anthony Davis Pelicans and they hope a new coach in Willie Green can elevate New Orleans into a playoff squad in Zion’s third season.

Off the court, Williamson has also looked to have an impact in his new home of New Orleans and back in South Carolina, as he has made sure not to forget his humble beginnings as he rises to superstardom. Zion has worked with partners to build courts in both places as well as paying lost wages to arena workers after the NBA shut down due to COVID-19 in 2020. For Williamson, it’s part of fulfilling a promise to friends back home that he’d never forget where he came from and how he got to the NBA, as he told us in a recent Zoom call on behalf of Mountain Dew as they get set to launch a new partnership with NBA 2K22.

To start, I want to talk some about what you do in the community and some of the things that you’ve been involved in recently. I know with Dew a couple years ago you did some new courts in Spartanburg, and then you just did another one in New Orleans. I’s early in your career, and you’re kind of finding your way in the NBA, but why was it important to you to make sure that you’re having an impact right away, both at home in South Carolina and in New Orleans in your new community?

I felt like it was important because anybody that knows my story, they know that I worked out at McLeod Park in Florence (SC), an outdoor court. When I partnered with Mountain Dew they looked at my story, and they got to learn about me. And so they came up with this great idea to not only give back to my community back in Spartanburg, SC but also to my new home in Louisiana. When I saw what they did with the courts, I was just, I was blown away. Now I really appreciate Mountain Dew for doing that because I get a lot of pictures from friends back home, hooping on it, and I’m just grateful they did that.

Who were the people that influenced you in your life that make you want to make sure you’re giving back and make sure that you’re being more than just, somebody that kids can look up to on the basketball court but also with what you do off of it?

I think it’s just the people you meet along the way, that I met along the way of elementary, middle school, high school, college, anybody that I’ve had in my life. You know when I’m talking to them, when I’m talking to my friends, we’re always talking about like, if we ever make it big, we’re not going to forget where we came from. We’re not going to forget the people that was there with us. When we were, you know just grinding and trying to have a chance at our dream.

When did you realize that you kind of have this influence? Obviously you blew up on social media in high school, but when did you realize you had this influence on the younger generation and recognize kind of the responsibility that comes with that?

I would say my junior year, when I started blowing up on social media, and the world got worried about me. I was in my junior year of high school.

How have you learned to navigate that and work within that and use that for some positive good? Because obviously like you’ve done with the courts and other things, you’ve been able to leverage that platform you have to give back?

It was something that I learned when I was just a kid. You know, those moments when you’re with your friends whether it’s at AAU tournaments or just at school, dreaming about possibilities, that we can have in this life. You know I think I learned about it then, when I was just a kid. Whether I was making it to the NBA or not, I just wanted to give back to my community in some kind of way.

You’ve got the 2K/Dew partnership coming up. What can fans look forward to in the game that’s going to be coming with that?

Fans can look forward to Mountain Dew’s Three-Point Contest within the game. I know for my character I’m in that contest a lot. Probably let them win four or five consecutive years in MyCareer or something, you know, just to show the world what I can do in the game. But yeah, I think that’s something the fans can look forward to.

How do you play with your character in the game? Like do you try to play it true to how you play in the actual league or are you more willing to step out and l shoot a little more in the game that’s maybe a little different than how people have seen you in your first couple years on the court?

I’m one of those guys that when I play 2K I try to play like real life. Like when it comes to my teammates, whether I use another team, how they played when they played against me or when I see them play, or how I played and how my teammates played. But I try to keep it like that so when I do stuff on the court, it’s still realistic. I’m not making up false realities, I’m just trying to keep it real. And my friends, they’ll say something from time to time like, it’s a video game. Just have fun.

I know LeBron has said in the past that he uses 2K to scout guys, have you ever done that? Use the game to kind of get a feel for guys, especially when you were coming into the league and getting ready to play some of these guys for the first time, did you ever use that as a scouting tool?

Yeah, I saw that interview actually. I took a deeper look into it, and it’s actually funny because 2K, they’re really advanced with how they scout. So, sometimes 2K has some people on the money with how they actually play. It’s like, wow! It is a little bit of a scouting report.

Lastly, New Orleans is one of my favorite cities to visit. It’s particularly because it is one of the best food cities in the country. I gotta ask, you been there for a couple years now. What are your favorite spots around the city that you’ve discovered?

[Long, contemplative pause] I gotta go with Drago’s. I think that was just one of the first places I went to. I gotta go with Drago’s. I think they’re seafood pasta is amazing, so we’ll go Drago’s.

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The Blessed Madonna Shared A Clubby Remix Of Elton John And Dua Lipa’s ‘Cold Heart’

The Blessed Madonna has shared a bumping new remix of Elton John and Dua Lipa’s joint single “Cold Heart,” which is part of John’s upcoming collaborative album The Lockdown Sessions. Leaning into the original’s club-ready beat, The Blessed Madonna’s take on “Cold Heart” amps things up with shimmering synths and fast-paced snare. Meanwhile, the visualizer is a trippy animated journey through space, time, and anthropomorphic shrubbery.

“Like just about everyone on the planet, I stand in awe of Elton John and Dua Lipa,” The Blessed Madonna said about her remix. “It was such an enormous honor to be asked to be a part of their collaboration which is such a beautiful project. I immediately loved the song and I tried very hard to do it justice. It is nothing but pure joy to be in the orbit of these icons and their great big, warm beautiful hearts. I appreciate all of you listening.”

John’s The Lockdown Sessions, out on October 22, also features Gorillaz, Miley Cyrus, Stevie Wonder, Stevie Nicks, Nicki Minaj, and Young Thug. John originally said of the project:

“The last thing I expected to do during lockdown was make an album. But, as the pandemic went on, one‐off projects kept cropping up. Some of the recording sessions had to be done remotely, via Zoom, which I’d obviously never done before. Some of the sessions were recorded under very stringent safety regulations: working with another artist, but separated by glass screens. But all the tracks I worked on were really interesting and diverse, stuff that was completely different to anything I’m known for, stuff that took me out of my comfort zone into completely new territory. And I realized there was something weirdly familiar about working like this. At the start of my career, in the late 60s, I worked as a session musician. Working with different artists during lockdown reminded me of that. I’d come full circle: I was a session musician again. And it was still a blast.”

Listen to the remix above.

The Lockdown Sessions is out 10/22 via Interscope. Pre-order it here.

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