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Cardi B and Reebok have teamed up again for a new collection of sportswear launching later this month, taking inspiration from the Coney Island boardwalk, beach workouts, and 1980s aerobic looks. The “Summertime Fine Collection” will be available beginning April 23 on Reebok.com.

Reebok’s blog has more details about the upcoming collection, including its emphasis on catering to Cardi’s fans. Product Manager Molly Kazarian says, “Today’s consumer is not down with BS. They see through brands. With the Cardi B shoe collection, it’s clear she didn’t do it for a check. After collaborating with her, we ultimately just let her be herself. Cardi was really specific about how she wanted the collection to be accessible. Accessibility is clearly important to her, and you can see this everywhere from sizing to the price point.”

The collection includes bodysuits, leggings, and cropped sweatshirts right out of the ’80s episode of WandaVision, in bold colors that reflect Cardi’s own vibrant aesthetic. There will also be new colorways of Cardi’s redesigned Club C shoes for both adults and toddlers — a nod to her own toddler, Kulture, who often gets dressed up in outfits mirroring her fashion icon mom’s.

You can check out a few of the looks below and find more at Reebok.com.

Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Back in 2012, Sean Payton was suspended by the NFL over the Saints bounty scandal and spent his time away from the NFL coaching offense for his son’s middle school football team. If that sounds like a really easy plot for a sports movie, Adam Sandler’s Happy Madison production company agrees with you and will be producing, but the part that will cause most football fans to raise their eyebrows is the news of who is going to be playing the part of Payton.

It’s a Happy Madison movie, so that means there are only a few options on the table, and according to Peter King, the wheel landed on Kevin James this time around — with Payton having read and offered some edits on the script.

James is going to play Sean Payton in a Netflix movie called “Home Team,” produced by Happy Madison Productions. (Sound familiar? It’s the Adam Sandler company.) Imagine this: The plotline begins in 2012, when Payton is suspended for the season by commissioner Roger Goodell for the Saints’ bounty scandal, which gives Payton the chance to re-assess his life and put it in some perspective. As part of his new life, Payton becomes the offensive coach for his son Connor’s sixth-grade football team, the Warriors, in the Dallas area. (Thus, the “Home Team” title of the flick.) Filming of the movie begins this year. Payton read the script recently, made some corrections, and here it comes.

I don’t think James would’ve been the name at the top of the list for most folks if they were looking for accuracy in appearance, but that’s not to say he can’t do a good job. Still, as one person on Twitter pointed out, Frankie Muniz would’ve offered a much more spot on doppelgänger for Payton.

Honestly, James is probably the least ridiculous choice for a football coach on Happy Madison’s regular roster — like, imagine David Spade or Rob Schneider trying to sell themselves as an NFL coach. The only Sandler favorite that would’ve been better was if they just let John Turturro go completely unhinged in a role as a football coach here and see just how weird he can get with it. Anyways, you can look for this on Netflix in the somewhat near future.

(Spoilers from the final season of Shameless and the series finale will be found below.)

Shameless ran for eleven seasons like its U.K. counterpart did, and on Sunday night, the Gallaghers bid farewell to their audience while leaving things fairly open-ended. We don’t know what happened to the family house (and if Lip will manage to sell the thing) or what will happen with most of the still-present siblings’ living situations. It kinda felt like any other episode, other than delivering one of the things that I wanted from the final season: a lifeless Frank. Yeah, Frank (who suffered from accelerating dementia this season) ended up dying alone, which makes sense since he’s on the list of the All-Time Worst TV Dads. No complaints there, and he got more kindness from Liam than he deserved.

Mostly, the long-running show struggled, even while keeping it real with a pandemic storyline, for these past few seasons. That’s only to be expected following the departure of Emmy Rossum’s Fiona, who was more than Gallagher glue: she was the jaded heart of the series. Steve Howey (who portrayed the muscle-bound, bar-owning Kevin) recently tweeted that he missed Fiona, and so did the series. Fiona never returned, not even for the finale. Showrunner John Wells spoke with The Hollywood Reporter about how Emmy wanted to come back, but the pandemic-logistics crushed that idea:

We were trying to get Emmy — and Emmy wanted to come back. We caught it at the wrong moment. We wanted her to return and had some storylines about her coming back and she wanted to do it. Based on what was going on with the pandemic, when we were planning it — there have been so many surges, I can’t remember which one it was — but the quarantines went back into effect between New York [where Rossum resides] and Los Angeles [where Shameless films] and it was impossible to figure out how to get her back. That was biggest disappointment: not being able to make that work out because we all wanted it to happen. A very minor but sad result of everything that’s happened in the pandemic.

Wells added that Fiona could have had one of “about 20” storylines that writers dreamed up, but nothing ever materialized on script because, again, traveling has largely been a non-thing over the past year. Wells added that he believed that Fiona’s now living in Florida, and he jokes that she’s probably working “in Epcot Center because she would never get a job on the better side.” Wells also didn’t answer a very pressing question: whether she ended up with Justin Chatwin’s Jimmy-Steve. Well, I’m simply going to pretend that happened because, hey, Jimmy was one hell of a grifter, but he was actually the least awful boyfriend that Fiona ever had on the show. Even after this:

(Via The Hollywood Reporter)

Republican Senator John Cornyn started his week by getting roasted for complaining that President Joe Biden isn’t tweeting enough. On Monday morning, Cornyn fired off a thread that outright wondered if Biden isn’t “really in charge” because, unlike Trump, he doesn’t spend his entire day tweeting. (Naturally, this is a suggestion point that Trump trotted out recently.) Cornyn’s thread also parroted the predominantly right-wing criticism that Biden isn’t engaging enough with the media despite his Press Secretary Jen Psaki holding daily briefings that have been lauded for openness and transparency. Via his Twitter (which matches an excerpt from a Politico piece, word-for-word, and Cornyn lifted the excerpt out-of-context):

The president is not doing cable news interviews. Tweets from his account are limited and, when they come, unimaginably conventional. The public comments are largely scripted. Biden has opted for fewer sit down interviews with mainstream outlets and reporters. Invites the question: is he really in charge?

After suggesting that Biden should be tweeting more, Cornyn’s replies were filled up with people pointing out that the president doesn’t have time to tweet because he’s actually doing his job. Turns out it’s easier to end a pandemic when you’re doing things like facilitating vaccine distribution instead of screaming in all-caps about Fox News’ ratings.

Cornyn’s thread was also ironic given his prior approach to Trump’s tweets, which was to pretend he didn’t know about them:

And then there’s the issue that the bulk of Cornyn’s thread was seemingly copy and pasted from Politico with no attribution or quotation marks whatsoever. This is grade school stuff, senator.

(Via Senator John Cornyn on Twitter)

People throw around phrases like “something straight out of a movie” with enough regularity that they can start to lose their meaning, but sometimes, every once in a while, something will happen in real life that plays out like an honest-to-goodness Hollywood script. One of the best examples here is the art theft that took place at the Isabella Stewart Gardner museum in 1990, which is the subject of a new Netflix docuseries titled This Is a Robbery.

The short version goes something like this: On the night of the St. Patrick’s Day parade in Boston, two men dressed as police officers showed up at the museum and were let inside by guards, who were all promptly tied up and led to the basement while the thieves spent the next 81 minutes looting the gallery. All told, they made off with hundreds of millions of dollars in paintings and sculptures and, despite numerous leads and theories, were never caught, and the paintings were never recovered. It is widely regarded as the largest art heist in history, and certainly the largest that remains unsolved.

This is, obviously, fascinating, especially if you’re someone like me who spends multiple hours a week reading real and fictional stories about heists, and has seen The Thomas Crown Affair two or three dozen times. I’ve read articles about this Gardner heist, and I’ve listened to podcasts about it, and I ripped through the four episodes of this series in about 48 hours. It’s a blast to watch, just littered with weirdos and thieves and lawyers and investigators, all of whom have things to say and theories to spout, many of them in chowder-thick Boston accents. If you haven’t seen it yet, please, dive in at some point. You might end up as obsessed as I am.

After I watched the docuseries, its director, Colin Barnicle, was kind enough to take a few minutes to chat about it with me over the phone. We covered the robbery itself, and the process of getting people to open up about a traumatic event from three decades prior, and yes, at least one bonkers but sadly debunked theory of the crime. Our chat, slightly edited and condensed for clarity, is presented below.

Let’s start at the top just to set a baseline for everybody here. Can you give me a real quick summary, in your words, of the Gardner Heist, and why it was interesting to you as a documentary-length project?

The Gardner Heist happened on the holiest of holies in Boston, St. Patrick’s night into March 18th, 1990. Two thieves dressed as Boston Police entered the back door of the Gardner Museum, they subdued the guards, and they robbed what is at least a half a billion dollars worth of art. They robbed major works by Vermeer, three Rembrandts, Degas, a Manet, among a few other things. And nobody has ever seen them since, the art or the thieves, nobody’s ever been arrested, nobody’s ever been brought to court for this.

As you said, this crime happened 30 years ago, and yet, you seemed to be able to track down so many of the people who were involved. Was it hard to get these people rounded up and to get them to speak so candidly on camera about something like this?

It was very hard. A lot of people didn’t want to talk because, one, it was the time period in their life they didn’t want to go back over, and two, they were afraid of possible prosecution. And then a lot of times they didn’t want to say anything or misremember anything from 30 years ago that might hurt somebody or mislead somebody.

One person who did not seem to have any qualms about discussing it was Myles Connor, the career art thief and member of Mensa, who may or may not have been in prison at the time of the heist. His lawyer, the first time he met him, said he had a mountain lion on a leash, and we later learned he once had a trailer filled with swords. What was it like talking to this guy, because he was fascinating to me?

He’s an odd guy. Yeah. Odd doesn’t even really encompass the word, yeah. That mountain lion on the leash ended up in a Farrah Fawcett ad, actually, a car ad in the late seventies.

What?

It’s hilarious. It’s like on a beach, there’s a car, and there’s Farrah Fawcett, and Myles Connor’s mountain lion. Yeah, he’s an extremely smart guy. He knows the law and he knows the statutes, and what he can and cannot talk about. You can talk to him about katana blades for three, four hours at a time, or about reptiles and snakes. He loves the study of, I think it’s called herpetology, the study of reptiles. He lived, literally, in a house with a horse for a while, he owned a pet crocodile, a pet mountain lion, and truly admires fine art. But he likes talking, and he likes talking about art and art robbery. And he played with Roy Orbison, and he played with The Beach Boys in the early ’60s when he had his band, so he doesn’t really have stage fright, which is always a good thing when you’re trying to get information.

I don’t ever remember seeing a criminal who may or may not have been involved with a crime who is so happy to be talking about it on camera.

It was difficult to try to hedge him down without getting too far off track. I think the first episode, when we first got it together, half of it ended up being Myles, and we were like, “It’s not a documentary about Myles.”

I think the most shocking thing that jumped out to me when I was watching it was that this museum has billions of dollars worth of art and it’s being guarded at night by this collection of hippy musicians, stoners, and goofballs.

I think partially what blew us away was that it’s actually not odd for students to be guards in these museums. What is odd is that they didn’t have any exterior alarms other than one button. And certainly, the museum had been cased before, the FBI had been there in 1981, told them that it was being cased.

There were plans to make the guard desk a little bit more secure. There had been another security assessment in 1988, which basically said, “You’re okay, but you have some problems here.” And the door itself, the mantrap door [the two-door system that was supposed to lock intruders between], there was a magnet lock problem on the inside door, which defeats the purpose of actually having a mantrap door. So they had some issues,

They had to fire their then director because they were losing money, they were not outward-reaching, they were not really protecting the art in any way. When you go over the budget and you don’t see anything for climate control in there whatsoever, I mean, forget about the guards.

The most sympathetic figure in the whole thing, for me at least, was the new director they brough in, Anne Hawley, who had just started and was starting to implement the climate control stuff, and was starting to modernize it, and then all of this happens. The footage that you guys have of the post-heist press conference is incredible to me, because you could just see it all on her face, just this look that says “I did not sign up for this.”

If you go to the Gardner now, it’s beautiful, and the art is protected, and it’s an atmosphere that really reaches out to the community. That’s because of her. But yeah, she got hired in July 1989, but she started working in the Fall of 1989, six months prior to the robbery. And she’s got all these plans, number one, climate control, because a theft is not really top-of-mind. It was brutal. It was a brutal period for her, especially in those first couple of years, because tips are coming into the museum, and she and the other trustee, Arnold Hiatt are really handling it themselves while also trying to kind of reinvigorate this decrepit museum. It sucked for her.

She did not look like she was having fun.

Even to this day she kind of trances out when she actually talks about that morning. The way she put it was, it’s like a family member had died. Something you were supposed to protect gets swiped from you, or taken from you. And it’s difficult for her to talk about, even today.

The series lays out the most straightforward theory of the crime, that these organized crime figures took the paintings as some sort of bartering scheme to get someone out of jail or get a sentence reduced either then or in the future, but what’s the most outlandish theory you uncovered during your research?

One of the funnier ones involved Frank Salemme, who was the de facto head of the Boston Mafia at that time. In March 1990, he’s actually out in L.A. more or less, trying to become the muscle behind movie producing. He’s trying to get the mafia into movies and they’re trying to produce this film called Love at First Bite with George Hamilton, where he plays a love-stricken vampire. And we heard that it was possible that the art was robbed to fund the movie. We checked into that, that is not true, as it turns out, but it was a funny one we heard.

I, suddenly, right now, want nothing in the world more than for that to have been true.

You go out to Hollywood, you get the stars in your eyes, and all of a sudden, you’re robbing Rembrandts to fund your movie.

A movie about a vampire who falls in love, too. Not even some prestigious Oscar movie.

Yeah, with George Hamilton.

There are lots of great interview subjects in this, just a lay-up line of characters and thick Boston accents. Two of my favorite people who popped up repeatedly were Marty Leppo, the lawyer, who seemed to represent every person even loosely involved in the heist and was very happy to talk about it all, and the sister-in-law of the one suspect who was…

Donna.

Yes. Who was just, like, sitting at her kitchen table, fully relaxed, like she doesn’t even realize the camera’s there, telling you about how she didn’t like the frames, and she thought the art was…

Ugly.

Exactly.

We knew Donna had seen the art [at some point after the robbery]. We were pretty sure on that. I actually tried to trick her with a lineup of Manets that all look similar. Some of the producers actually had trouble picking up the Chez Tortoni, but Donna, this isn’t something that’s on the top of her mind, that she prepped for the interview. And she knew exactly what she saw. She pointed it out right away. Another one I really liked was the guard, Karen.

Yes. With the shoulder-length silver hair?

Yeah, she was just so hip and cool. And she had such a great memory for that morning. She had never been interviewed before and she was so good at it. She was so quirky and so detail-oriented with something that happened 31 years ago, because she’s an artist, so she’s worked in a visual medium. And she was talking about it and we were just like, oh, my God. We expected to interview her and be like, “Oh yeah, I don’t really remember 30 years ago.” But she dove right in. She was like, “Oh yeah, I got there at 7:43. It was 58 degrees and I thought it was a little humid. And I hit the button that you…” I really liked her. She was very endearing and she was so smart. She just remembered everything so clearly.

I’ll tell you what, in the documentary when she’s first introduced and she’s sitting cross-legged on her couch with her whole body up there on the cushions, and her face is just glowing, I can remember thinking in that moment, “This is going to be really good. This lady has stuff to say.”

She was great. Yeah, she’s a very quirky soul.

All right, last question, this is one you’re getting a million times, I’m sure. Scale of one to 10, with one being never in a million years and 10 being by the end of the summer — how likely do you think it is that these paintings will ever be recovered at this point?

I think it’s individual on each painting. I think if you were going to ask me about the big ones, I would say it’s like two, one or two. I would say for the physically smaller works like the Chez Tortoni, I would say those are more like probably eight or nine.

Oh wow.

We’ve heard that these are just around New England, and people don’t know about them. A good for instance is, nobody had gotten a picture ever of Bobby Guarente, nobody knew what he looked like. And we got the photo through a family member, and that family member had no idea he was connected to this crime, and they lived together. The family members of some of these suspects might be sitting on something. They just think it’s a drawing or a nice thing that they put over the toilet or in their den. They just don’t know its provenance, and that happens a lot. I think it will happen for the smaller works eventually. The bigger works, I don’t know. I’m trying to keep hope, but nothing we’ve heard has been very, very helpful.

‘This Is A Robbery’ is currently streaming via Netflix.

Dave Grohl doesn’t stop. He just announced a new book last week and now he has another new project on the way. This time, it’s What Drives Us, a documentary directed by Grohl and produced by Foo Fighters.

A statement about the film summarizes:

“What Drives Us follows bands Radkey and Starcrawler as they take on the world, one town at a time, while also telling stories of the biggest artists in the music industry, recalling the romance and adventure, as well as the idiocy and chaos, of their own time on the road. The film explores the logistics of what it takes to turn a van into a home, and how the tricks of this trade have been handed down through the decades. There was a time before the digital age when this is how music and information made its way through the world. You had to take it to the people yourself and hope that word would spread like wildfire. While the world has changed, the rite of passage has not. There is no other way to know whether you can make it in this business. You have to get in the van.”

Grohl also says, “This film is my love letter to every musician that has ever jumped in an old van with their friends and left it all behind for the simple reward of playing music. What started as a project to pull back the curtain on the DIY logistics of stuffing all of your friends and equipment into a small space for months on end eventually turned into an exploration of ‘why?’ What drives us?’”

What Drives Us features interviews with artists like Ringo Starr, U2’s The Edge, ACDC’s Brian Johnson, Steven Tyler, St. Vincent, and many others. The film will be available starting on April 30, via The Coda Collection in the US and Amazon Prime Video in select global markets.

Watch a trailer for What Drives Us above.

For years now, Vinyl Me, Please has been one of the premiere ways to get a regular flow of exclusive and lovingly presented vinyl rereleases of terrific albums. Now they are celebrating their 100th Essential Record Of The Month with “VMP 100,” a series of reissues of sought-after albums.

The albums that will be re-released as part of the series are Gorillaz’s Demon Days; Phoenix’s Wolfgang Amadeus Phoenix; Outkast’s Southernplayalisticadillacmuzik; Queens Of The Stone Age’s Songs For The Deaf; Queen’s A Night At The Opera; Outkast’s Stankonia; Spiritualized’s Ladies And Gentlemen, We Are Floating In Space; Saba’s Care For Me; Al Green’s Call Me; and Miles Davis & John Coltrane’s The Final Tour: Paris, March 21, 1960.

Vinyl Me, Please CEO Cameron Schaefer says, “Exploring music together is at the heart of VMP and is the driving force behind the last eight years of monthly releases. VMP Essentials is our flagship subscription, the OG, and is the most clear representation of the evolution and growth of our company and community. While it feels like we’ve reached the top of a mountain in a sense with VMP 100, the reality is there’s so much more to explore. It’s truly just the beginning.”

Wayne Coyne of The Flaming Lips, who have albums re-issued through VMP but are not included in the “VMP 100” rereleases, offered a statement, saying, “Being selected by VMP and having them present our music and packaging to their collected followers is like having one of the world’s great art museums show your stuff; or should I say, it’s like a great art museum that you’ve been to that you love and admire, and then one day you go to the museum and they have YOUR art hanging in it. It’s like being welcomed and accepted into a sacred church where records are God.”

Learn more about “VMP 100” here.

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

Bad Bunny is going on tour! Of course, it won’t be until next year, as most venues are still more or less shut down right now. But this is certainly a good sign that things are trending in the right direction and the light at the end of the tunnel is not only visible but also approaching at an encouraging clip.

The tour centers around his recently released El Último Tour del Mundo. In the meantime, we can still catch Bad Bunny at sporting events like Wrestlemania, where he actually acquitted himself well, helping tag-team partner Damian Priest beat The Miz and John Morrison.

Check out the tour dates below.

2/9 — Denver, CO @Ball Arena
2/11 — El Paso, TX @ UTEP Don Haskins Center
2/13 — Hidalgo, TX @ Payne Arena
2/16 — Houston, TX @ Toyota Center
2/18 — Dallas, TX @ American Airlines Center
2/23 — San Diego, CA @ Pechanga Arena
2/24 — Los Angeles, CA @ Staples Center
2/25 — Inglewood, CA @ Forum
2/28 — Portland, OR @ Moda Center
3/1 — Seattle, WA @ Climate Pledge Arena
3/3 — San Jose, CA @ SAP Center
3/5 — Las Vegas, NV @ MGM Grand Garden Arena
3/6 — Phoenix, AZ @ Phoenix Suns Arena
3/10 — Rosemont, IL @ Allstate Arena
3/14 — Toronto, ON @ Scotiabank Arena
3/16 — Philadelphia, PA @ Wells Fargo Center
3/18 — Newark, NJ @ Prudential Center
3/19 — Brooklyn, NY @ Barclays Center
3/22 — Boston, MA @ TD Garden
3/23 — Montreal, QC @ Bell Centre
3/25 — Washington, DC @ Capital One Arena
3/26 — Charlotte, NC @ Spectrum Center
3/27 — Atlanta, GA @ State Farm Arena
3/29 — Orlando, FL @ Amway Center
4/1 — Miami, FL @ American Airlines Arena

Even in the early days of the pandemic, “what about COVID 1-18?” was a worn-out joke. But it’s no joke to Ted Nugent. The far-right, pro-gun rocker, who had a smattering of slimy hits 40 years ago, is genuinely curious why the world went into lockdown for COVID-19, but not COVID-1, or COVID-2, or… you get the idea (unlike Ted).

In a recent Facebook Live video (of course), Nugent posed a long-debunked question about the pandemic while ranting about his tour being canceled. What a disappointment for the 12 people who had tickets. “You know, I guess I would ask you, because I’m addicted to truth, logic, and common sense, and my common-sense meter would demand the answer to why weren’t we shut down for COVID one through 18?” he said. “COVID-1 — and there was a COVID 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 and 18 — COVID one through 18 didn’t shut anything down but woah, COVID-19!”

I’ll let Snopes handle this:

The respiratory disease COVID-19 was named in February 2020 for the coronavirus that causes it — SARS-CoV-2 — and the year in which the first disease case was reported — 2019. Following that logic, Nugent’s proclamation of a “COVID one through 18” would suggest that there had been 18 years of coronavirus infection rates at a global scale, which is unfounded.

Over 17,000 people have died from COVID-19 in Nugent’s home state of Michigan with another 48,000-plus deaths in Texas, where he currently lives. I expected better from the “Wang Dang Sweet Poontang” singer who visited the White House with Sarah Palin and Kid Rock and was once investigated by the Secret Service for saying that he would “either be dead or in jail by this time next year” if Obama was elected for a second term.

Egg on my face, I guess.

(Via Snopes)

While the death of DMX last week sparked a wave of heartfelt posts from admirers and peers on social media, some of the most touching posts came from those who were closest to the late rapper. DMX’s daughter Sasha was among them, paying a touching tribute to him with a poignant post on Twitter.

“Nothing will ever explain how i feel, how this all feels,” she wrote. ” “My twin, i love you. there’s always been so many misconceptions about who the f*ck you were but that didn’t matter because i knew who the f*ck you were. eternally greatful to have had you. i love you forever dad.”

Others who paid tribute to X as a person included his ex-wife Tashera Simmons, the mayor of Yonkers, New York, where DMX grew up, and X’s Cradle 2 The Grave co-star Gabrielle Union, who shared a hilarious recollection of his fondness for the 1980s sitcom, The Golden Girls.

However, not all the tributes to X were accepted as they were intended by the artist’s fans. Def Jam, X’s label home throughout his dominant run at the end of the 90s and beginning of the aughts, received a backlash after releasing a pair of compilations on streaming before the rapper’s death was officially announced.

He was reportedly working on a new album for Def Jam at the time of his death, so we’ll see how fans react if and when it’s completed and released. Until then, you can read Uproxx’s reflection on X’s career and legacy here.