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Non-fungible tokens, or NFTs, are all the rage these days. They’ve gone from cryptocurrency side project to meme of the moment in a hurry, with speculators snapping up all kinds of digital goods and basketball highlights as the bored economy continues to be in full swing.

But if you’re still a bit lost about what an NFT is and why people seem to be so excited about them, well, that’s what The Daily Show is here for. In a substantial segment from the show, Trevor Noah broke down the craze in their If You Don’t Know, Now You Know segment. There are plenty of jokes, sure, but it also serves as a pretty solid rundown of just what makes NFTs unique, popular, and a big money-maker for digital platforms that have found an audience in recent months like NBA Top Shot.

“Essentially what you’re buying with an NFT is a long digital receipt that has your transaction along with every transaction that has ever happened,” Noah explained. “So basically it’s like a CVS receipt: it has miles of irrelevant information but somewhere buried in there it says that you bought a Gatorade and some pretzels, and maybe condoms.”

Though the money that’s pouring into NFTs is pretty wild, there certainly was room to joke about the potential for its place as a status symbol.

“The problem, though, is that if digital pictures become the new status symbol, you realize that rap videos are about to become boring as hell,” Noah said. “Instead of showing off expensive cars or pet tigers, rappers are just going to be clicking.”

You can watch the full segment above.

Robert Redford has always bothered me. It’s nothing about him, personally. He’s a beloved Hollywood icon who has done nothing but star in classic movies across many genres and support noble causes and be generally regarded as a good and nice man. It’s the hair, mostly. It’s that he’s all of those other things and has possessed a head of boy-band-quality blond hair for like six decades now. It’s too much. I could handle one or the other. I could deal with him being a multi-talented film legend and going bald in his advancing age. I could handle him being the world’s greatest commercial pitchman for hair conditioner but struggling to cross over into box office glory. Add it all up, though, and it’s just gratuitous. It’s upsetting, is what it is. Robert Redford is entirely too powerful.

I have a similar problem with successful people who are also good at golf. It’s not jealousy, really, or at least it’s not just jealousy. Golf is impossible. People should not be good at something and then good at golf, too. Becoming good at it should cost you everything else in your life, just due to the commitment of time and mental resources. I get almost suspicious of people like this, like they’re up to something, like maybe that they’ve made some deal with a devious magical trickster they met at a carnival. I mean, mastering one thing in life is hard enough. It takes dedication and work and natural talent. Doing this in more than one area seems impossible to me, a person who is, at best, half-good at a few things, and recently looked in a mirror and decided, “Well, I guess I’m a buzz cut guy from now on.” I don’t know why I’m fixated on the hair thing. It’s probably nothing I should talk to a therapist about.

But this is something that started to worry me as I watched the new action movie Nobody, in which Bob Odenkirk goes on a John Wick-like journey from “living a quiet life as a family man after getting out of the violence business” to “maniac who almost single-handedly takes down the mob.” Bob Odenkirk is so good in Nobody. Almost… too good. Like, the guy just up and became a believable action star in his late 50s. After everything else he’s done in his career! And so, I’ve spent the week or so since I watched the movie pondering this question, which I will now lay out as a Case For and Case Against, in part to settle the issue in my brain and in part to justify the time I’ve spent thinking about it by turning it into a work thing: Is Bob Odenkirk, sketch comedy legend, dramatic television lead, and now Keanu-style action star, becoming simply too powerful?

CASE FOR: Bob Odenkirk is becoming too powerful

Bob Odenkirk has been acquiring power in plain sight, right in front of our faces, for decades. It started on Saturday Night Live way back in the 1990s. Odenkirk was a writer for the show and created, among other things, the Matt Foley, Inspirational Speaker sketches with Chris Farley. Even if he did nothing else in his life, that would have been enough, because those sketches are perfect. And if you’re bouncing this around in your brain and thinking, “Yeah, but Chris Farley was a master of physical comedy so take it with a grain of salt,” like that minimizes Odenkirk’s work as a comedy writer, then this is where you have to try to explain away Mr. Show, too.

Mr. Show was so good. Mr. Show still is good, actually, which is almost a magic trick for a sketch comedy show created in the early 1990s. Go watch a bunch of the sketches again now. Start with the one above, which is stupid to the point of brilliance, thanks in large part to Odenkirk giving it the full Slimy Used Car Salesman flare. Same with sketches like “24 Is The Highest Number,” or the fact that Mr. Show gave Tenacious D its big break, or any number of the memorable takeaways from the show’s short run. Even a sketch like “The Audition,” which was written by Dino Stamatopolous and stars Odenkirk’s co-creator David Cross, falls under the umbrella of “Bob Odenkirk rules” because he’s right there in the sketch playing the straight man.

And if he just stopped here, if all he had was an imprint on sketch comedy as a writer and a performer, again, that would have been enough. That’s basically what Dana Carvey brings to the table, give or take a Garth and a handful of excellent impressions, and Dana Carvey is a king. (You can make an argument that Mr. Show and The Dana Carvey Show are two of the most influential sketch comedy shows in history. Maybe one day I will.) But then Bob Odenkirk popped up as Saul Goodman about halfway into the run of Breaking Bad.

This was not entirely unreasonable. Saul Goodman was the comic relief in an otherwise bleak show — brilliant, but bleak — about a man who spirals from suburban chemistry teacher into international drug lord and ruins the lives of everyone he meets along the way. There is a reasonable amount of precedent here. Comedic actors slide into dramatic or semi-dramatic roles pretty frequently. Hell, Adam Sandler shows up in a legitimately good drama every few years and it still catches people off-guard every time. Where this all gets sticky is Better Call Saul, the Breaking Bad spin-off starring his character. In which he acts. Dramatically. Well. Here, look.

Do you see the point I’m getting at here? Bob Odenkirk went from writing sketches about a man who falls through tables to carrying an award-winning drama based on one of the best television shows ever made. And now he’s starring in action movies. Good ones! Ones that feature scenes where he, RZA from Wu-Tang Clan, and freaking Christopher Lloyd himself hunker down inside an empty warehouse and fight off an entire crew of goons like Denzel Washington in the Home Depot at the end of The Equalizer. I enjoyed the movie very much, as “Bob Odenkirk, RZA from Wu-Tang Clan, and freaking Christopher Lloyd himself hunker down inside an empty warehouse and fight off an entire crew of goons like Denzel Washington in the Home Depot at the end of The Equalizer” could not possibly be more inside my wheelhouse. But it is concerning, if only because my enjoyment seemed to confirm something I had not realized was a problem beforehand: By mastering yet another genre, in addition to sketch comedy and television drama, Bob Odenkirk is simply becoming too powerful.

CASE AGAINST: Ah, shut up, who cares?

Bob Odenkirk is the best. I’m happy for him. It rules that he keeps trying and succeeding at new stuff. And who the hell wouldn’t take the chance to star in a John Wick-style movie with Christopher Lloyd and RZA? It’s not like his hair is that great, either. It’s nice, to be sure. It’s fine. But it’s not enough to tip the scales. Yes, I’ve been thinking about this last thing. A lot. Again, I’m sure it’s fine.

VERDICT

Unless we find out that Bob Odenkirk is secretly a scratch golfer, he has not yet become too powerful. Bob Odenkirk is still okay.

Whoever named the Academy Awards “Oscar” (and that’s a disputed, not particularly interesting story) forever did the Academy a solid, because it creates for us the idea of some fictional person to yell at twice a year when the nominations and awards are announced. I imagine that’s as much attention as most people pay to awards season — as a forum to fight and debate, with a fictionalized bad guy to rail against. Consciously most people understand that there is no “Oscar” and that the awards aren’t decided by “a person” at all. Awards-giving bodies are like corporations: we treat them like individual people even though their entire reason for being is that they are not.

Perhaps this is an idiotically obvious point, but it’s one worth repeating: the Oscars do not reflect any single human’s taste. We have a general idea that those choosing the Oscars are a cabal of mostly old, white, rich men, and that’s still mostly true, and it makes the Oscars even easier to hate, but even that overlooks the basic fact: critical consensus is a myth. It simply doesn’t exist.

Even if the voting body was perfectly demographically homogenous, it’s not as if the members go into a room and agree. Every awards show, every RottenTomatoes “score,” every “critics say…” blurb or listicle — they’re all bullshit. Or at least, for the vast majority of us, myself included most of the time, our reactions to them are based on the same common misconception: that a group can react to art as an individual can. I do the same dumb thing over and over again even when I know how dumb it is — I see a 98% on RottenTomatoes and think, “That movie?? 98%? Come on, it wasn’t that good.”

If the question is, “Who thought that movie was worth 98%??” The answer is, “no one.”

Again, this is head-slappingly obvious, but 98% doesn’t mean the movie scored 98 out of 100 on a test. It might just mean that 98% of the critics polled saw it, shrugged and thought, “that was fine.” A film that receives 98 of the mildest positives with two vehement pans still scores better than one that changed 90 critic’s lives and ruined 10. And I think most of us would agree that the latter would be better art. Metrics like RottenTomatoes scores and awards voting simply aren’t equipped to deal with that.

Okay, you might think, but maybe they’re a fair generalization. I suppose it depends what we consider “fair.” Consider: I have served on juries at festivals, I’ve voted in critics association honors, and I regularly contribute blurbs and opinions to crowd-sourced lists on this very website. Not even the lists and awards I’ve contributed to have been an especially good reflection of my tastes. Get even one other human involved with making a list of best movies or performances and you immediately end up with a series of compromises at best and a list of things that consists of one-third of movies that you actively hate at worst. Taste in movies is extraordinarily resistant to generalization.

While I’d love to believe that I’m some perfectly unique and immortal combination of influences and not just a walking, talking rotting sack of turds the rest of you, I suspect that every critic or awards voter feels at least a little bit this way. The inherently flawed nature of group-sourced lists and group-voted awards immediately manifests in the difficulty writing
blurbs for them. The natural way to critique is “[work of art] did [this] and it made me feel [this way].”

Once it’s a group list, the writer is forced, artificially, to remove that supposedly objectionable first-person pronoun and substitute “we.” It sounds off and presumptuous, because it is. It’s inherently untrue. “We” can’t feel anything, because “we” don’t feel collectively. That’s not how feelings work. The writer is forced to presume a false perspective.

If you think this all sounds Ayn Rand-y or that I’m building up to a plea for dictatorship here, I’m not. Lots of decisions can and should be decided collectively; judging art just maybe shouldn’t be one of them. At the very least, it doesn’t function as a simple up-or-down vote. “Polarizing” isn’t a great quality for a leader, but it can be a wonderful quality in art. Art is not an Amazon product review.

Even if you don’t believe “art can change the world” or any of the kinds of starry-eyed, hyperbolic hokum that A-list actors read off teleprompters during awards telecasts, good art should probably still provoke strong feelings, and that just isn’t the kind of art awards voting, as it now exists, rewards. Forrest Gump over Pulp Fiction, Green Book over The Favourite, The King’s Speech over whoever it beat out that year… the list of historic flubs and snubs goes on and on (to say nothing of the fact that the entire thing began as a union-busting scheme). These decisions are more understandable when you understand that they aren’t decisions at all; they’re simply the lowest-common-denominator with a smaller sample size. The Oscars, like all awards, rewards acceptability over fervency every time. The existence of science shows that humans are much smarter as a group than we are as individuals. The history of awards shows proves that we also have shittier taste.

So where should we leave it? That awards are “Fun to argue about, as long as you don’t take them too seriously?”

That’s certainly true, but I think maybe it’s bigger than that. The Oscars, and awards in general, are similar to the corporation in that they remove individual responsibility. It’s what they’re designed to do. No one person has to take accountability for awarding one movie rather than another; instead everyone in the Academy can share a negligible amount of glory or shame while we argue over how brilliant or stupid this fictional character “Oscar” is. It’s like when companies use focus groups. That way an executive doesn’t have to own a bad decision, he can simply say “It wasn’t me, I was just following the data.”

Likewise, when a corporation pays a fine for bad behavior, who actually pays? Certainly, movies are the most frivolous, least consequential iteration of this basic phenomenon, which is why it’s still relatively fun to argue about them every year. But if you’re using awards shows or scores or crowd-sourced lists to decide what to watch, understand that that’s just another way of say “trust the data.” And that data is mostly just a responsibility-avoidance device.

Find a critic you like, and read them. A critic has taste. “Critics” do not.

Vince Mancini is on Twitter. You can access his archive of reviews here.

Over the last few years there does seem to be a pattern to the types of films that Netflix makes. On one side of the pattern are the auteurs who finally get to make their long gestated passion project will little to no interference. (Aaron Sorkin’s The Trial of the Chicago 7 and David Fincher’s Mank are recent examples of this.) And then there are most of the rest of them, which kind of feel like someone walked into a store named “Unfinished or Discarded Scripts” and announced, “We’ll take ’em all!” (One caveat here: it certainly feels like this might be changing. Between the deal for the Knives Out franchise and the just-announced Sony deal, it does appear Netflix is also looking at a third way to go here.)

And that’s the disappointing thing about Thunder Force, because there are some good ideas here in this movie (written and directed by Ben Falcone), because it sort of feels like you can tell someone almost said something. Some executive somewhere thought about making a call to tidy this movie up and punctuate the stuff that works. Then that executive, who had just dialed seven of the ten numbers needed to complete the call, figured it would be too much of a hassle and hung up the phone and said to himself or herself, “Eh, good enough.”

Lydia (Melissa McCarthy) is at her Chicago area high school reunion when she sees on television that her now famous and financially successful former best friend, Emily (Octavia Spencer), is in town. Buzzed on reunion booze, Lydia shows up at Emily’s corporate offices and tries to convince Emily to go to the sad party. It should be mentioned here that Chicago is also filled with super-powered people refereed to as Miscreants. It’s a world with only super villains and no heroes. Emily’s company is working on a procedure to create heroes out of normal people and, wouldn’t you know it, Lydia, still a bit sauced, injects herself in the face with the super serum that will, eventually, after 30-ish more injections, give her super-strength. Meanwhile, Emily has been taking a pill that gives her the powers of invisibility. Together, they decide to fight crime under the title of Thunder Force.

It’s weird, because it feels like the time is ripe for a lighthearted parody of a superhero movie. Along these lines I think about My Super Ex-Girlfriend quite a bit. A movie that came out two years before Iron Man and, well, stumbled in its delivery. (The screenwriter, Don Payne, would go on to co-write two Thor movies before he sadly passed away from bone cancer in 2012.) It’s not a particularly good movie, but the concept of someone just happening to date the secret identity of a famous superhero is a pretty nifty idea. And Thunder Force reminds me a lot of My Super Ex-Girlfriend. A movie that, on paper, is a pretty good idea but just fails in the execution. Also, instead of remaking movies we already like, I wish someone would take another crack at My Super Ex-Girlfriend. There’s a lot that could be done with an idea like that one.

There’s a somewhat convoluted group of villains that includes Chicago’s mayor (Bobby Cannavale, in full Andrew Cuomo mode) who is staging attacks on himself by a Miscreant in order to gain sympathy in a bid to win reelection. Something that does work is Jason Bateman as The Crab, part of the villainous crew. Bateman looks mostly like himself except he’s wearing these ridiculous crab arms. And as he explains, he was bitten by a radioactive crab in the genitals, so now he has crab arms. Now, see, that’s pretty good. If a human is bitten by any radioactive creature, why is it always in comics the human gets the best features? And Batman deadpans his way through this movie on almost a one-person mission to save it. And you know what, he almost does.

But, alas, the problem with the lighthearted superhero parody/comedy always seems to be, and this one is no exception, is they, in the end, just turn into superhero movies. Just versions that aren’t as good as the real thing. Look, a lot of Marvel movies are already funny. Some, like Thor: Ragnarok, are already full-blown comedies. So it’s hard to tell what this movie is trying to be, and end the end just kind of becomes just another superhero movie, despite Jason Bateman’s best attempts at preventing that. I swear, someday, someone will nail one of these premises.

‘Thunder Force’ begins streaming via Netflix on April 9th. You can contact Mike Ryan directly on Twitter.

Draymond Green has found himself in hot water over the past couple weeks over his comments regarding women’s sports and athletes pushing for fair and equitable pay. Megan Rapinoe pointed out where his initial Twitter thread missed the mark, and when he was asked about that afterwards, he chose a very poor argument that women athletes need to “stop complaining” and offer up a plan for how to make changes happen.

That, unsurprisingly, yielded plenty of backlash and even garnered a soliloquy from Stephen A. Smith on Thursday, who called out Green, ESPN, and even himself for needing to be better about supporting women’s sports and the athletes calling for equality. On Thursday night, the Warriors had media availability and Green was asked about the conversation that’s been taking place about his comments and the critiques he’s received, and while he didn’t back down from his initial statements as some would have liked, he did try to clarify what he was saying, insisting he and Rapinoe are pushing for the same thing.

“At the end of the day, what Megan wants and what I want is the same thing,” Green said. “And if she believes doing something a certain way gets her to the end goal, I’m all for that. And if I believe doing something a certain gets to the end goal, I’m all for that. So, if we can both do something to move the needle to get to the end goal, great. I have no complaints with whatever it is she wants to do, or any woman athlete wants to do, or anyone who is trying to help drive their cause and what they want to be done. It doesn’t matter to me how we get there. What matters to me is that we get there.

“I’m not going to sit here and condemn her comments back to me, or what she’s done. I’m in full support of what she’s doing to help get to the end goal because that’s what I want to see happen and I want to help.”

Green tried to clarify that his point was they needed to get brands and large outlets to report more on the plans women have put together for how this all can work, which is the right place to point the finger, as it’s the lack of support and coverage that keeps women’s sports on the periphery. The issue is, Green still doesn’t seem to recognize the issue with saying the women who are calling for these changes are going about it the wrong way, because they have tried all manner of things to garner more coverage and get these things out into the public conscience, only to be ignored or not given a significant platform. For someone like Green, who has that platform and who gets that coverage when he says things like this, what they want is for him to listen first and be an advocate to push those plans, rather than standing up and loudly proclaiming his opinions without seeking their thoughts first.

That’s the issue at play, as there have been very few who think Green’s intent isn’t positive, but it’s the manner in which he’s going about it that’s a problem. A far more productive thing to do would have been to reach out privately to those women he tagged in his initial tweet thread and asked for their thoughts, heard their plans and ideas, and used his platform to voice them and give them the reach that they often aren’t afforded. He’s not wrong in some of what he’s saying, but he’s also missed the mark with other aspects and those detract from the overall message, which is pushing those with the power to invest in women’s sports, whether as sponsors or as a media outlet, to do so.

The Los Angeles Clippers picked up a big win on Thursday night, taking down the Suns who are the current 2-seed in the West one night after Phoenix beat the Jazz in overtime. It was a game that featured some chippiness and a late ejection for Patrick Beverley, but a sensational performance from Paul George and Kawhi Leonard, combining for 60 points, led L.A. to the 113-103 win.

Prior to the game on TNT, Charles Barkley had declared that he didn’t believe the Clippers were title contenders this year, and even after a strong performance he wasn’t swayed. He’s far from alone, as after last season’s collapse against the Nuggets many are waiting to see them prove they can get over the hump in the playoffs before buying in no matter how well they perform in the regular season. For Barkley, though, it goes deeper than that, as he had a rather hilarious response to some angry Clippers fan tweets after the game, noting that for his entire life the Clippers have sucked through his many phases.

In all fairness to Chuck, he’s not wrong here. The Clippers as a franchise have been a disaster for a long time, although at least over the last decade they’ve been far more competent, even if they haven’t been able to get over the hump to reach the conference finals. There are plenty of folks who share the same trepidation about believing in the Clippers as a real contender for the very reasons that they’ve been burned before, and until they prove it to Chuck, he’s not going to buy in on this L.A. squad.

Polo G has grown to be a favorite out of the new class of rappers for many hip-hop fans. The Chicago native has released countless songs that have proven his stay in the rap game will be far from temporary. The rapper continues his run with his latest single, “Rapstar,” a boastful effort that discusses his rising stardom and position in the rap game. He talks about his impressive performances on songs, the money and the women he’s involved himself with since his 2019 breakout, and the expected hardships and struggles that come with adjusting to fame.

To push the message even further, he shared a video with the track that shows him buying cars for friends, flying aboard private jet with a number of women on board, dealing with an annoying group of paparazzi, accepting a position in the hip-hop hall of fame, and more. The new track continues what’s been a decent streak of 2021 releases from Polo G. This list includes his “Headshot” collaboration with Lil Tjay and Fivio Foreign, “Richer” with Rod Wave, and “GNF (OKOKOK)” which was paired with a Cole Bennett-directed video. All of it arrives after the Chicago native dropped what was one of the more impressive rap album of last with The Goat.

You can watch the new video for “Rapstar” above.

The streaming services are getting thematic, and the resulting battles are fierce. Hostile neighbors on Amazon Prime go up against nefarious forces on HBO, and there are (once again) warring superheroes on Disney+ (The Falcon and the Winter Soldier), Netflix (Thunder Force), and Amazon Prime (The Invincibles). We’re so incredibly lucky to have such an abundance of escapism inside our living rooms each weekend, but we must focus on the task at hand: naming the streaming service that gives you the most for your dollar. As always, it’s a tough call to make, but the results are unusual because Netflix surprisingly doesn’t make a huge mark in the fight to the top of the pile.

Instead, HBO Max comes out ahead this weekend with three highly entertaining series to stream and some bonus John Oliver. Amazon Prime manages to come in strong with a new series that will remind you of a certain Jordan Peele movie. Disney+ continues to prove itself a formidable contender with two series that are offering fresh episodes each week. And don’t count out Hulu (with all those next day FX offerings), Peacock (with a new true crime miniseries and a growing library), and AMC+. Here are all the makings of a fine streaming weekend.

HBO Max

The Nevers (HBO series streaming on HBO Max) — This Joss Whedon-created show offers an intriguing setup about a group of “orphans” (almost exclusively women) who find themselves “gifted” with supernaturally-powered abilities. Although there’s far too many plot lines (and some plot holes), there’s also a fair amount of butt-kicking, and the atmosphere is killer. The embattled Buffy and Firefly creator officially exited the series last year, but you won’t be able to forget his presence. Whether that hurts or helps the show remains to be seen.

Exterminate All The Brutes (HBO series streaming on HBO Max) — This four-part documentary series tells a story of survival with a powerful message. Prepare to witness a search for truth and an scrutinization of how history is written, and expect to watch this show while reexamining much of what you thought you knew about European colonialism, American slavery, and Native American genocide. This week, Parts 1 and 2 revisit the U.S.’ legacy as a colonial power, including stories of Christopher Columbus and Trail of Tears, as told from an indigenous perspective.

Q: Into the Storm (HBO series streaming on HBO Max) — You’ve heard all of those wild QAnon conspiracy theories, and it’s a great time to catch up after the series concluded last week. Filmmaker Cullen Hoback drives into the rabbit hole to reveal how the mysterious “Q” wields conspiracies as information warfare to manipulate thinking and influence American culture. In the end, this series will touch upon the Internet’s darkest corners and explore how “unfettered free speech” (according to the synopsis) can go to dangerous places.

Last Week Tonight (HBO Series, Sunday On HBO Max) — Everyone’s favorite sarcastic and satiric weekly-late-night host, John Oliver, will skewer the world again.

Amazon Prime

Them (Amazon Prime limited series) — This story’s sure to remind horror fans of Jordan Peele’s Us in more ways than a few, and for good reason. This show promises to explore American-bred terror with an anthologized approach, so the first season is all about the 1950s. Allison Pill’s reliably frightening, and here, she’s terrorizing a Black family, who moves into an all-white LA neighborhood and the welcome committee isn’t there for them, that’s for sure. Soon enough, the horror show begins; and both from a reality-based and a supernatural standpoint, this is pure nightmare fuel.

Invincible (Amazon Prime series) — This animated romp drops a new episode and pleases both fans of The Boys and The Walking Dead, and the latter reference has everything to do with the source material by Robert Kirkman. Invincible is an ultraviolent deconstruction of the superhero, and yes, we’ve seen plenty of dismantling already, but this story has heart. Stephen Yeun makes a fantastic leading man here, and the cast (J.K. Simmons, Sandra Oh, Seth Rogen, Walton Goggins, Jason Mantzoukas, Zazie Beetz, Zachary Quinto, Mark Hamill, and several TWD names) is ridiculously good.

Disney+

The Falcon and the Winter Soldier (Disney+ series) — Sam Wilson and Bucky Barnes are still doing their buddy action-comedy thing, and last week, Sharon Carter finally arrived to kick ass and sprinkle her newly jaded attitude among the cast of characters. This week, Zemo might be in for a rude awakening after Ayo (of Wakanda) tracked down Bucky. The Flag Smashers are still proving to be confusing villains, and Faux Captain America is hanging out somewhere. We’re past the halfway point now, so things should start to come to (even more of) a head soon.

The Mighty Ducks: Game Changers (Disney+ series) — Emilio Estevez is back in this new-generation revival of the classic films. Co-starring Lauren Graham and Brady Noon, the Mighty Ducks junior hockey team is now a powerhouse in its division, and it’s brutal in selecting who can make the cut. Estevez is still the Ducks’ original coach, and he’s helping a new team of underdogs after the New Ducks boot a 12-year-old boy.

Hulu

Mayans M.C. (FX on Hulu) — This biker drama’s in a darker third gear with the club all wrestling with various personal and professional demons. This week, Bishop’s working on the club’s supply issues, and EZ gets closer to his new lady friend.

Snowfall (FX on Hulu) — The John Singleton-co-created series sees Franklin confronted with chaos while Teddy is attempting to row upstream.

GLAAD Media Awards (Special on Hulu) — Many former Glee cast members (including Matthew Morrison, Jacob Artist, Chris Colfer, Darren Criss, Vanessa Lengies, Jane Lynch, Kevin McHale, Heather Morris, Alex Newell, Amber Riley, and more) will reunite to pay tribute to Santana Lopez, the character of the late Naya Rivera who came out as lesbian one decade ago. Glee guest star Demi Lovato will also be on hand.

Breeders (FX on Hulu) — Martin Freeman’s starring turn in this comedy enters the sophomore season with new parenting challenges. This week, sudden death strikes the Worsley family while Ava struggles with telling Paul something, and Ally’s attempting to confront her feelings for Luke.

AMC+

Gangs of London (Sky Atlantic/AMC+ series) — AMC+ viewers who already enjoyed the first season of this series and may even be tempted to revisit the turbulent power struggle all over again as it hits the traditional TV schedule. Fans of the beloved Peaky Blinders, as well, should pay attention because this new series makes Peaky seem like a pleasant walk in London’s Hyde Park. Warring gangs and a power vacuum and a city on its knees are only part of the attraction here. The rest is down to character-based writing and a wonderful cast that embodies a decidedly unglamorous take on warring criminal elements, all of which will prove to be addictive for anyone who loves The Sopranos or any of Marty Scorsese’s mob pictures.

Fear the Walking Dead: Season 6B premiere (AMC series on AMC+) — Against all expectations (and the audience’s experience), this zombie-series spinoff transformed itself and surprised the hell out of even die-hard fans of The Walking Dead universe. The storytelling has shifted to a character-based approach (and an isolated one at that, often focusing on finishing journeys before credits roll), and almost as importantly, there’s now a formidable villain in the mix, courtesy of Colby Minifie as Virginia. Can the show continue to sustain its current momentum? The franchise’s fans sure hope so, as other spinoffs warm up in the background.

Peacock

John Wayne Gacy: Devil In Disguise (Peacock miniseries) — The NBCU streaming service is stepping into the true crime game with a six-part series about one of the most terrifying and notorious serial killers. The docuseries will contain a full-on interview with the subject from prison while presenting accounts from an ex-wife, a confidant, and other exclusive interviews. Prepare to be horrified and riveted and afraid to turn out the damn lights at night.

Netflix

Thunder Force (Netflix film) — Don’t expect this movie to win any awards because that’s not the point. Instead, prepare for the silliest of moments from Melissa McCarthy and Octavia Spencer as two inept superheroes who fight crime, long after their childhood best-friend days, and together, they learn what it’s like when two ordinary people are suddenly tasked with stopping supervillains. In other words, sit back and embrace the chaos because there’s plenty of it coming your way. The supporting cast includes Bobby Cannavale, Pom Klementieff, and Melissa Leo. Plus, Jason Bateman is onboard, which instantly makes any movie or TV show better

This Is A Robbery: The World’s Biggest Art Heist (Netflix documentary series) — This docuseries goes big while digging into a $500 million stash of missing art and a $10 million reward for the lucky person who finds it. The mystery sources back 30 freaking years after two thieves pulled off the greatest art heist in history in 1990 Boston, and investigators are now tracking the cold case in an attempt to uncover legendary works by Rembrandt, Vermeer, and more. Get ready for dead ends and lucky breaks aplenty.

Dolly Parton: A MusiCares Tribute (Netflix film) — Even before Dolly helped fund research that led to one of the COVID-19 vaccines, she was beloved, as she very well should be. This special showcases the never-before-seen 2019 Person of the Year event and concert that celebrated this national treasure.

The Wedding Coach (Netflix film) — All of those cancelled weddings from last year are going to have a spiritual reawakening with this show, which dives into the hell of planning. Comedian Jamie Lee piggybacks from her own wedding to help couples “survive” the ridiculousness of “Big Bridal.” It’s real talk with Lee attempting to help people see the bigger picture.

Shudder/AMC+

Creepshow: Season 2 (Shudder and AMC+ series) — The spooky anthology show returns with many, many featured players on board, including Ali Larter, C. Thomas Howell, Ted Raimi, Kevin Dillon, Anna Camp, Josh McDermitt, Adam Pally, and Ashley Laurence. Just FYI, the Marilyn Manson episode got axed following Evan Rachel Wood’s allegations against the so-called shock rocker.

For the past couple of years, the singers that are housed under Drake’s OVO Sound collective have been delivering impressive projects. Roy Woods returned last year with Dem Times, DVSN blew listeners away with A Muse In Her Feelings, and PartyNextDoor broke out from his cage with PartyMobile. While all of these projects were welcomed with open arms, there was a noticeable absence in the mix of it all; Majid Jordan. The alternative-leaning duo has left fans hanging without a new full-length effort since their 2017 project, The Space Between. Thankfully, it seems like that drought will come to an end as the duo returned with their new single, “Waves Of Blue.”

The song was initially premiered on a recent episode of OVO Sound Radio through their new Sound 42 station on SiriusXM. The new track errs on the pop side of things as its upbeat free-floated production finds Majid Jordan pouring their heart out to an unnamed individual. Despite declaring that they’re no good for them on the new track, the duo seeks nothing more than to spend time with their love interest and enjoy the moments that come with it.

As for Majid Jordan’s last release, you can revisit their 2019 track, “Caught Up” with Khalid here.

Press play on the new track above.

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

Patrick Beverley is among the NBA’s top instigators, often blurring the line between hard, aggressive play and crossing it into being dangerous. On Thursday night, Beverley faced Chris Paul and the Phoenix Suns and crossed that line with an intentional foul as Paul brought the ball up through the backcourt.

Beverley upended Paul and tossed in a little chicken wing to cause Paul to flip to the ground, leading to a bit of a kerfuffle at midcourt as Beverley happily took ownership of the foul and Jae Crowder and others from the Suns took offense to his antics.

Paul, as he does, certainly sold it, but upon review, the referees determined it was a Flagrant 2 foul on Beverley and he was ejected from the game. That decision wasn’t a massive surprise as it was very much on the borderline of a Flagrant 1 and 2, and given Beverley’s history he is not one to earn the benefit of the doubt. It also was the latest chippy moment in a game that had a few dust-ups, so the referees were also trying to keep the game from spiraling, and, in a situation like that, having Beverley off the court is going to help keep things from escalating further. The Suns were able to cut the Clippers lead to as few as four afterwards, but Paul George stayed red-hot and pushed L.A. back to a double-digit lead shortly after, en route to a 113-103 L.A. win.