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Jucee Froot Makes An Indecent Proposal In Her ‘Girls Kissing Girls’ Video With Juicy J

Memphis rapper Jucee Froot is back with another twerk anthem, taunting listeners with the prospect of “Girls Kissing Girls” in her latest video from her Black Sheep debut mixtape with fellow Memphis star Juicy J. In the video, Jucee hits the strip club with a fleet of her fellow ladies, securing a VIP table and getting lap dances while her lyrics entice women to come through if they’re fed up with their man.

“Let me see your tongue ring,” Jucee flirts on the chorus. “I got girls kissing girls.” The burgeoning Memphian star hasn’t been shy about expressing her desires in her music, from the raunchy “Eat Itself,” which featured on the Insecure soundtrack earlier this year, to the aggressive “Psycho (Remix)” featuring Rico Nasty, on which she lets rivals know she wants smoke if they have it.

As Jucee continues to rack up vital placements such as her appearance on the Birds Of Prey soundtrack last year, Black Sheep songs like “Girls Kissing Girls” will continue to be a calling card, letting rap fans know she’s got the range to stick around for a while.

Watch Jucee Froot’s “Girls Kissing Girls” video featuring Juicy J above.

Jucee Froot is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Larry David’s Statement On HBO’s Renewal Of ‘Curb Your Enthusiasm’ Is Pretty, Pretty, Pretty Good

Quarantine television — in which entertainers entertain us by sitting in front of webcams in their homes while quarantining — has been a mixed bag. Even SNL, after a better-than-expected first “At Home” episode, saw its ratings slip for its second go, suggesting viewers weren’t going to put up with this style for too long. But if there’s anyone we’d love to see grumbling in front of a laptop, it’s Larry David. So here’s some pretty, pretty, pretty good news: As per Variety, Curb Your Enthusiasm has been renewed for an eleventh season. What’s more, his response was pretty, pretty, pretty great as well.

David did not reveal any details of the next season, not even if he’d actually address the real-life horror-show we’re enduring with no end in sight. (Although the famously grouchy entertainer, at least in April, told The New York Times that he’s enjoying his quarantine.) But he did leave a honey of a quote. “Believe me, I’m as upset about this as you are,” David told Variety. “One day I can only hope that HBO will come to their senses and grant me the cancellation I so richly deserve.”

Will David and company wait to shoot the series after things chill out in Los Angeles? Who knows, but from the sound of it, California won’t be returning to normal any time soon. That means Season 11 may be a glorious depiction of how Fake Larry David handles quarantining, deliveries, cooking at home, Zoom sessions with dodgy buffering issues, and, when he braves the outside, awful people not wearing masks. Really, if anyone going to be the poet of the pandemic, it’s Larry David.

The most recent season of Curb Your Enthusiasm bowed earlier this year, and it should be fun seeing how he writes his way out of its shocking conclusion.

(Via Variety)

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You Won’t See The United States On The List Of Countries That The EU Will Open Its Borders To

Today, the European Union announced that it would begin allowing travelers from 15 countries to fly into countries in the EU beginning on Wednesday, July 1st. Significantly, the United States did not make the list. That shouldn’t come as much of a surprise, considering that with over 2.6 million cases of coronavirus across the country, according to the most recent data collected by the Johns Hopkins University, we are the current epicenter of the virus worldwide.

According to CNBC, external visitors from Algeria, Tunisia, Australia, Canada, New Zealand, Georgia, Japan, Montenegro, Morocco, Rwanda, Serbia, South Korea, Thailand, and Uruguay will be welcomed to visit the European Union for the first time since countries began shuttering their economies in March as a response to the coronavirus spread. Chinese visitors will also be permitted to fly into the EU, once the country starts accepting European travelers.

The EU’s decision is non-binding, meaning any country may open its borders to whichever country they want, though European governments have been strongly advised to not lift travel restrictions if the country of origin has not met certain criteria — new COVID-19 cases over the last 14 days need to be close to or below the EU’s average, with infection rates trending toward a decline, or stabilizing in comparison to the previous 14 days.

Considering several states across the United States are still recording record highs, we can put to rest any hopes we held of flying to Europe this summer.

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The BET Awards Gave The Blueprint For How Pandemic Awards Shows Can Succeed

When coronavirus effectively shut down the entertainment industry earlier this year, it looked like it might not only be a wrap for concerts and festivals but also for another industry staple: awards shows. While most artists and fans agree that awards don’t matter a whole bunch in the grand scheme of things, it’s still an annual “family reunion,” giving industry professionals a chance to gather and show each other public admiration, while for fans, it can be fun to see what surprises artists may bring to their performances, speeches, and afterparty interactions.

Over the weekend, BET held the 2020 BET Awards via a show entirely produced by its participants at home, from host Amanda Seales’ segments between the awards and performances to the acceptance speeches. This created a fascinating look at what could be the future of awards shows in the era of COVID-19. While the show was far from perfect, it was also somehow one of BET’s best awards shows, historically speaking, and if considered as a dry run for future shows like MTV’s VMAs or the CMAs, may provide something of a blueprint to build on for its successors. Here are a few things that worked and a few things that need some work.

What Worked:

Production Value

BET has long garnered criticism for the production quality of its shows. However, considering how every segment of the 2020 BET Awards was produced remotely, everything came together quite nicely this time around. Maybe it was because the show couldn’t be produced live, but there was more polish than usual, with each segment flowing quickly and efficiently to the next. The takeaway for future shows is to use the additional production time to edit together a seamless show that feels well put together.

Amanda Seales’ Throwback Hosting Segments

Amanda Seales made excellent use of her home green screen to pay homage to BET’s rich history, using backgrounds that revived sets from shows like Teen Summit, Rap City, and 106 & Park to bring a clever dimension to her hosting segments. She even managed to make some of her flatter jokes work for moment by throwing on a ComicView background to lampshade the cheesiness of her puns. If MTV or any of the other various shows off in the horizon get stuck utilizing a social distancing format, giving the host free run of historical shows and venues via green screen may add a sense of liveliness to the proceedings.

The Performances

Without the benefit of massive stages, light shows, pyrotechnics, and crowd interaction, artists on the show had to get creative with how they presented their performances. While Chloe x Halle have nailed down the art of turning their backyard tennis court into an extravagant showcase, Megan Thee Stallion and crew took to the desert in order to find space to spread out. Summer Walker and Usher used matching stages to embody their song’s theme, and multiple artists utilized the backdrop of protest to build some much-needed storytelling into their timely performances. This one’s obvious for future shows: get creative.

What Could Use Some Work:

Everything Was Almost Too Timely

While not speaking to the moment would have been negligent, BET’s show was almost gauche in the way it continually referenced current events and Black trauma. From DaBaby recreating the death of George Floyd to both Alicia Keys and John Legend offering somber piano ballads speaking to the dark days surrounding us, the show felt more despairing than hopeful. Things are dire, yes, but we could all use some escape — which is why sets like Chloe x Halle’s provided some much-needed levity. Balance is key; it’s important to highlight the moment but without getting too maudlin.

Not Having An Audience Sucked Some Energy From Performances

While the lack of an in-studio audience did help prevent some of the cornier jokes from falling flat and force artists to get more creative, after a while, the awards show started to feel almost like a music video countdown. It became harder and harder to forget that we were simply watching these pre-recorded performances on a screen. I’m not sure what future shows can do to mitigate this, because social distancing is more important now than ever as the number of COVID-19 cases spikes in the wake of weeks of civil unrest. Piping in crowd noise has been a tactic used to bring back live sporting events, but it’s gotten a mixed reception. If show producers can find some way to allow fans to react in real time — a la Instagram Live’s “like” hearts popping up along the side of the screen, it may help foster a feeling of communal viewing and make things a bitter more interactive.

Messaging Matters

Although not strictly a part of the show, per se, the ads BET ran during the commercial breaks were handy in highlighting the theme behind the show. However, when news surfaced of the network pulling an absolutely vital McDonald’s ad before the show, it sent another message — one that undermined the meaning behind much of the significance expressed elsewhere. Those concerns arose after the show’s well-intentioned performance by Kane Brown was derided as an “All Lives Matter” anthem. If future shows want to express importance sentiments of solidarity, they’ll need to read the proverbial room. Now isn’t the time for platitudes without action or for hypocritical, shareholder-appeasing moves. Know what needs saying, why it needs saying, and say it with your chest.

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

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A Black woman came out of surgery with more braids than before. Here’s why that matters.

A woman’s story of how a surgeon handled her braids during a head surgery has gone viral, not just for the thoughtful actions of the doctor, but for what it shows about the importance of representation in medicine.

India Marshall posted her heartwarming story on Twitter:

“So y’all know how I said I woke up from surgery w/more braids in my head than I came in w/and I thought it was the black nurses? I found out today at my post op appt that the surgeon (he’s black) did it,” she wrote. “He said he has 3 little girls & they have wash day… I almost cried.”


“While removing my staples he said, ‘Your braids look better than mine, I hope I didn’t do too bad,’ and I was like excuse me??? YOU did my hair???…” she continued. “You could tell he was so proud to tell me too lol.”

“He also said he used staples to close my incisions instead of stitches to avoid cutting my hair when removing stitches,” she added.

Marshall explained that she’d had a rare condition of bone growths in her forehead region and the surgery to have them removed meant three incisions behind her hairline. “The surgeon parted and braided my hair to create clean incisions without shaving,” she wrote.

On her way home from surgery.India Marshall

“Thinking about this black man braiding my hair to prepare to cut my head open is hilarious and endearing at the same time,” she added. “Also the fact that he’s that active in helping his wife with their girls, I love it. Moral of the story: find black doctors.”

People loved the story—the consideration of the surgeon, the image of him doing his own daughters’ hair, and the difference it makes to have a doctor who has personal experience with a patient’s culture.

As one person pointed out, “THIS is among the millions upon millions of reasons why we need diversity in medicine. There is a level of care that only people who have walked in your shoes… even just a little bit… can provide.”

“This is why the world needs more Black & Brown folks at every level,” wrote another person. “Reminds me of Peruvian Indigenous women who showed scientists how they do a specific weave unique to them that taught the medical AI how to stitch skin so that the patient has a quicker recovery time.” [The person clarified in a later tweet it was Bolivian, not Peruvian Indigenous women.]

“This experience was meaningful to me because this simple gesture showed I was being cared for by a surgeon that saw me,” Marshall told Upworthy. “He saw me as a black woman that would appreciate extra precaution taken with her hair. Not only did he understand this as a black man, but he had the ability and took the time to braid my hair himself.”

India Marshall

Marshall added that since she’s the oldest of four girls herself, it was extra special to hear that he did the same for his own daughters.

This is why diversity in medicine, as well as other fields, matters. It isn’t just about equal opportunity or making a nod to inclusive values. Representation can make a direct, marked difference in people’s experiences, and the value of being seen and having a need understood—without having to explicitly explain it—is priceless.

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The new viral Hamilton parody about mask-wearing is clever, hilarious, and spot-freaking-on

The Holderness family has made quite a name for themselves creating fun parody songs, but they may have just outdone themselves. As the world awaits the premiere of the filmed version Hamilton’s original staged production on Disney +, the Holdernesses have released a “Hamilton Mask-up Parody Medley” that perfectly captures inane mask-wearing debates in the musical mastery of Hamilton.

As of now, it’s only been up for six hours and has already been shared more than 35,000 times. Hamilton fans love it, recognizing familiar tunes such as “Aaron Burr, Sir,” “My Shot,” and “You’ll Be Back.” But even people who have never seen or heard Hamilton before will appreciate the cultural commentary on mask-wearing—an issue that has the U.S. struggling as it attempts to manage a pandemic in a highly individualistic society. As the video points out, public health isn’t a partisan thing, and mask-wearing to protect others certainly shouldn’t be something that angers people.

Check it out:


Impressive, no? As far as lyricists go, no one matches the genius of Hamilton creator Lin-Manuel Miranda. But the Holdernesses do a pretty darn good job of morphing the mask debates into the Hamilton framework in a way that’s funny, true to the subject matter, and on point.

They’ve had a lot of time to practice nailing the social-commentary-through-song-parody. Penn Holderness spent most of his career on-air as a reporter and news anchor, but pivoted to working with his wife and kids to make goofy-but-culturally-relevant music videos. It started with a viral “Christmas Jammies” video a few years ago, and The Holderness Family channel exploded from there. They’ve done parodies about everything from helping kids with math homework to the parental nightmare of the slime phenomenon.

If we’re going to have to live with people arguing over putting a piece of cloth over their face to help quell a literal pandemic, we can at least have some laughs over the absurdity of it. Good job, Holdernesses.

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Even facial recognition software is racially biased. But that may be about to change.

Across the country, millions of people are in an uproar about racism in policing and law enforcement as a whole – however one of the more sinister and overlooked aspects of racism in policing is found in the very place where human bias is supposed to be notably absent.

Facial recognition, the technology used for surveillance in many communities nationwide, has now become a major point of discussion for many who are deeply concerned that the inherent bias of its algorithm is not racially impartial.

Used for observation, tracking, and in many cases prosecution – facial recognition has been in use by many agencies for well over 20 years. There’s just one glaring error – it is mostly accurate when it is profiling white men.


Studies by M.I.T. and NIST have found that because of a lack of diversity in the databases the technology uses as a baseline, the systems are flawed from the start. Having a broken database to work from, the rates of misidentification are in danger of destroying countless lives due to a computing bias that doesn’t have a large enough reference pool from which to analyze data.

This month, Microsoft, Amazon, and IBM announced they would stop or pause their facial recognition offerings for law enforcement. However, many of the technology companies that law enforcement utilize aren’t as recognizable as Amazon. Some of them are lesser known outfits like Clearview AI, Cognitec, NEC, and Vigilant Solutions.

Photo by Lianhao Qu on

The fact that the protests have reignited the conversation regarding facial recognition is an interesting development, as protests themselves are a main source of data-gathering for the systems themselves. Protests, along with general collection points (social media, phone unlocking, security camera capture, image scraping).

Joy Buolamwini, a Ghanaian-American computer scientist and digital activist based at the MIT Media Lab, founded the Algorithmic Justice League to “create a world with more ethical and inclusive technology”. Her work over the past few years has helped to bring attention to the issue of the racial bias in the system.

Speaking to The Guardian, Buolamwini explains, “When I was a computer science undergraduate I was working on social robotics – the robots use computer vision to detect the humans they socialize with. I discovered I had a hard time being detected by the robot compared to lighter-skinned people. At the time I thought this was a one-off thing and that people would fix this. Later I was in Hong Kong for an entrepreneur event where I tried out another social robot and ran into similar problems. I asked about the code that they used and it turned out we’d used the same open-source code for face detection – this is where I started to get a sense that unconscious bias might feed into the technology that we create. But again I assumed people would fix this. So I was very surprised to come to the Media Lab about half a decade later as a graduate student, and run into the same problem. I found wearing a white mask worked better than using my actual face.

Buolamwini continues, “This is when I thought, you’ve known about this for some time, maybe it’s time to speak up … Within the facial recognition community you have benchmark data sets which are meant to show the performance of various algorithms so you can compare them. There is an assumption that if you do well on the benchmarks then you’re doing well overall. But we haven’t questioned the representativeness of the benchmarks, so if we do well on that benchmark we give ourselves a false notion of progress.”

Many have raised this concern in the past, however it has taken a wave of demonstrations nationally to bring the issue back into conversation for tech companies reexamining their relationships with how they build and distribute products – especially as it relates to law enforcement.

Another early whistleblower concerning racial bias in AI was Calypso AI, a software company that “builds software products that solve complex AI risks for national security and highly-regulated industries”.

Speaking with Davey Gibian, Chief Business Officer at Calypso AI, he revealed that Calypso had already been working on a comprehensive anti-bias tool for their systems over the past few months that is launching imminently.

Describing the overall issues related to facial recognition bias, Gibian explains, “There are two primary issues when it comes to racial profiling and police specific bias, one is data collection and data availability. The data available is based on things that have already happened – so police are looking for criminals by looking at data of who has already been booked. However, because police primarily target minority communities, that creates an inherent data bias model that predicts minorities will commit the most crime. The second primary issue is that even if you are aware of bias – simply stripping out race alone doesn’t help. You actually have to address the other elements related to the race data. For example, the geo-coordinates, the context of the capture, mugshots, the neighborhoods where people live, and other indicators from open source data, like spending habits, articles of clothing associated with minority and marginalized communities. All of these factors contribute to bias models, which leads police to use preexisting bias to designate criminals. So, because these are feedback loops in AI – it’s going to over-index racial bias.”

Put simply, he says, “Existing police data is biased because police are biased – models trained on that bias will be biased. Bias begets bias.”

When planning their approach to combat this deeply rooted issue in the system, Calypso decided to go for transparency instead of the murky steps many other outfits have opted for.

Speaking matter-of-factly, Gibian continues, “There aren’t enough tools to ensure that correlated indicators of race are stripped out of models. Our entire mission is to accelerate trusted AI into societal benefit – basically, we want to use AI for good. A massive barrier is the ethical and non-technical impact of AI and bias is one of the largest concerns we have. Because of this we’ve baked in an automated bias-detection tool into our software to ensure that any organization deploying a model can check for inherent bias, and can know not only if the data is biased, but how to mitigate against that. We believe that these bias scores should be shared with the public anytime AI is used in a public sector.”

As the Black Lives Matter protests continue and the movement moves from the streets to policy change, what remains to be seen is whether the large corporations that are publicly pledging support will follow the example of smaller companies like Calypso AI, Arthur AI, Fiddler, Modzy and others who are looking into bias in AI systems – and whether they will implement permanent solutions that make facial recognition a truly impartial, unbiased tool for the future.

It is worth noting that the Department of Defense recently released new guidance that explicitly requires that any AI used must not be biased.

Despite these positive movements towards a better technology overall, Gibian warns, “There’s a huge amount of benefit that AI can bring to make a

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The BET Awards Gave The Blueprint For How Pandemic Awards Shows Can Succeed

When coronavirus effectively shut down the entertainment industry earlier this year, it looked like it might not only be a wrap for concerts and festivals but also for another industry staple: awards shows. While most artists and fans agree that awards don’t matter a whole bunch in the grand scheme of things, it’s still an annual “family reunion,” giving industry professionals a chance to gather and show each other public admiration, while for fans, it can be fun to see what surprises artists may bring to their performances, speeches, and afterparty interactions.

Over the weekend, BET held the 2020 BET Awards via a show entirely produced by its participants at home, from host Amanda Seales’ segments between the awards and performances to the acceptance speeches. This created a fascinating look at what could be the future of awards shows in the era of COVID-19. While the show was far from perfect, it was also somehow one of BET’s best awards shows, historically speaking, and if considered as a dry run for future shows like MTV’s VMAs or the CMAs, may provide something of a blueprint to build on for its successors. Here are a few things that worked and a few things that need some work.

What Worked:

Production Value

BET has long garnered criticism for the production quality of its shows. However, considering how every segment of the 2020 BET Awards was produced remotely, everything came together quite nicely this time around. Maybe it was because the show couldn’t be produced live, but there was more polish than usual, with each segment flowing quickly and efficiently to the next. The takeaway for future shows is to use the additional production time to edit together a seamless show that feels well put together.

Amanda Seales’ Throwback Hosting Segments

Amanda Seales made excellent use of her home green screen to pay homage to BET’s rich history, using backgrounds that revived sets from shows like Teen Summit, Rap City, and 106 & Park to bring a clever dimension to her hosting segments. She even managed to make some of her flatter jokes work for moment by throwing on a ComicView background to lampshade the cheesiness of her puns. If MTV or any of the other various shows off in the horizon get stuck utilizing a social distancing format, giving the host free run of historical shows and venues via green screen may add a sense of liveliness to the proceedings.

The Performances

Without the benefit of massive stages, light shows, pyrotechnics, and crowd interaction, artists on the show had to get creative with how they presented their performances. While Chloe x Halle have nailed down the art of turning their backyard tennis court into an extravagant showcase, Megan Thee Stallion and crew took to the desert in order to find space to spread out. Summer Walker and Usher used matching stages to embody their song’s theme, and multiple artists utilized the backdrop of protest to build some much-needed storytelling into their timely performances. This one’s obvious for future shows: get creative.

What Could Use Some Work:

Everything Was Almost Too Timely

While not speaking to the moment would have been negligent, BET’s show was almost gauche in the way it continually referenced current events and Black trauma. From DaBaby recreating the death of George Floyd to both Alicia Keys and John Legend offering somber piano ballads speaking to the dark days surrounding us, the show felt more despairing than hopeful. Things are dire, yes, but we could all use some escape — which is why sets like Chloe x Halle’s provided some much-needed levity. Balance is key; it’s important to highlight the moment but without getting too maudlin.

Not Having An Audience Sucked Some Energy From Performances

While the lack of an in-studio audience did help prevent some of the cornier jokes from falling flat and force artists to get more creative, after a while, the awards show started to feel almost like a music video countdown. It became harder and harder to forget that we were simply watching these pre-recorded performances on a screen. I’m not sure what future shows can do to mitigate this, because social distancing is more important now than ever as the number of COVID-19 cases spikes in the wake of weeks of civil unrest. Piping in crowd noise has been a tactic used to bring back live sporting events, but it’s gotten a mixed reception. If show producers can find some way to allow fans to react in real time — a la Instagram Live’s “like” hearts popping up along the side of the screen, it may help foster a feeling of communal viewing and make things a bitter more interactive.

Messaging Matters

Although not strictly a part of the show, per se, the ads BET ran during the commercial breaks were handy in highlighting the theme behind the show. However, when news surfaced of the network pulling an absolutely vital McDonald’s ad before the show, it sent another message — one that undermined the meaning behind much of the significance expressed elsewhere. Those concerns arose after the show’s well-intentioned performance by Kane Brown was derided as an “All Lives Matter” anthem. If future shows want to express importance sentiments of solidarity, they’ll need to read the proverbial room. Now isn’t the time for platitudes without action or for hypocritical, shareholder-appeasing moves. Know what needs saying, why it needs saying, and say it with your chest.

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

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Fontaines DC Fuzzy Single ‘Televised Mind’ Warn Against Brainwashing Media

Dublin post-punk outfit Fontaines DC is just about a month away from releasing their anticipated sophomore album, A Hero’s Death. After sharing a couple of singles, the band returned Tuesday to share another preview of the record with “Televised Mind.”

“Televised Mind” follows Fontaines DC’s recent releases “I Don’t Belong” and their upcoming album’s title track, “A Hero’s Death.” In a statement, vocalist Grian Chatten described his inspiration behind their new song:

“This song is about the echo chamber, and how personality gets stripped away by surrounding approval. People’s opinions get reinforced by constant agreement, and we’re robbed of our ability to feel wrong. We’re never really given the education of our own fallibility. People feign these great beliefs in order to appear trendy, as opposed to independently arriving at their own thoughts. We were listening to a lot of The Prodigy and The Brian Jonestown Massacre, specifically their song ‘Open Heart Surgery.’ I was interested in extrapolating those types of chord progressions and capturing this droning, hypnotic feel. That last line repeated over and over [‘What ya call it’] is a buffer expression that people used here in Dublin. It’s sort of like ‘umm’ or ‘well…’ – it’s what people say when they’re distracted.”

Listen to “Televised Mind” above.

A Hero’s Death is out 7/31 via Partisan. Pre-order it here.

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Another ‘Teenage Mutant Ninja Turtles’ Reboot Is Coming With Help From Seth Rogen

The last time we saw the Teenage Mutant Ninja Turtles, they were subject of a hilarious SNL parody entitled Middle-Age Mutant Ninja Turtles, which imagined them in their grimly boring 40s. Thing is, they’re actually pushing middle age. Since the Turtles’ launch as a comic in 1984, they’ve never not been somewhere, from four animated TV series to three separate film franchise, the last one co-starring Megan Fox. And now they’re about to get another. Via The Hollywood Reporter, another animated TMNT movie is in the works, this time from Seth Rogen’s team.

Mind you, neither Rogen nor longtime partner-in-crime Evan Goldberg will themselves be writing or directing. It’s their company, Point Grey Pictures, that will collaborate with Nickelodeon on the new film, with Jeff Rowe — co-director of the forthcoming Phil Lord-Chris Miller movie Connected — set to direct a script by Neighbors scribe Brendan O’Brien. But they will certainly bring their sense of humor to a brand that’s sometimes struggled to blend action with comedy that’s, well, actually funny. (Of course, since Nickelodeon’s involved, it probably won’t come close to Rogen’s last foray into animation, Sausage Party.)

Leonardo et al. can still be seen on the small screen with the animated show Rise of the Teenage Mutant Ninja Turtles, whose second season ended only last week. While the most recent film iteration of the franchise was a mix of live-action and CGI, the 2007 film TMNT was all-animated, and had a much more serious vibe than Team Rogen will surely give it.

(Via THR)