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It’s been two years since Ronny J shared his breakout debut record Omgronny, which featuring heavy-hitters like Denzel Curry, Smokepurpp, and the late Xxxtentacion. His album garnered a lot of buzz and earned him a solid fan base. But now, the musician is gearing up for a new era. Ronny J announced his sophomore album Jupiter and shared the lead single, “Miami.”

While the artist hasn’t announced a firm release date for Jupiter, the record is expected to be due this summer. For “Miami,” Ronny J connected with Argentinian trapper Duki and Italian rapper Sfera Ebbasta, who all rap in their respective native languages. The three musicians deliver their verses over a bright, thumping beat. “Baby, I could fly you in Miami / Mansion in Key Largo so fancy / Baby, let’s go deep on a jetski / Take you all around, you’re so sexy,” Ronny J raps.

Sharing his track to social media, Ronny J wrote that he hopes his fans will find a much-needed escape through the dance-ready track: “During this tough time in the world, I wanna up the vibrations,” he wrote. “Peace and love.”

Listen to “Miami” above and check out Ronny J’s Jupiter cover art and tracklist below.

1. “Intro (Fly)”
2. “Typical”
3. “Faster”
4. “More Plays”
5. “Range Rover”
6. “Invitation”
7. “Famous”
8. “Miami” Feat. Sfera Ebbasta and Duki
9. “At The Top”
10. “488”
11. “Unfamiliar Faces”
12. “Outro (Destiny)”

Social distancing continues this weekend amid the global pandemic, and several new TV seasons are here for the binging. If nothing here suits your sensibilities, check out our guide to What You Should Watch On Streaming Right Now.

I May Destroy You (Sunday, HBO 10:30 p.m.) — Michaela Coel’s newest series is heavier than her hit Britcom, Chewing Gum (now streamable on Netflix). However, this fiery and fearless exploration of sexual consent does not arrive without Coel’s trademark wit and dark spikes of humor. As Arabella, Coel must solve the mystery of a disturbing, hours-long gap in her memory. What follows is a disorienting and uncomfortable and tragic and triumphantly real batch of episodes.

Queer Eye: Season 5 (Netflix series): Thank goodness for the Fab Five, who are here to bring us fresh batch of their comfort-watch, reality-makeover series. This time around, they’re headed to Philly to help a gay pastor, among others who could use some style.

13 Reasons Why: Season 4 (Netflix series): It’s been a long and dramatic haul for Liberty High School’s Senior Class. The show now sees its characters working to keep secrets buried while staring down how their future will be, if that doesn’t happen.

The Last Days of American Crime (Netflix film): Based upon the graphic novel from Rick Remender and Greg Tocchini, this futuristic movie stars Edgar Ramirez and Michael Pitt. The pair hope to pull off a great American heist before an interfering government signal is due to halt all crimes from being committed. This sounds like a hit for the Extraction crowd that’s looking for a new action fix.

The Vast Of Night (Amazon Prime movie) — Our own Josh Kurp called this movie a “fun, genre-heavy, impressively acted, darkly-but-beautifully lit throwback that starts slow, but once you realize what going on, things begins to click like an old-fashioned remote control.” The story takes place in 1950s New Mexico, where two young people observe a mysterious frequency that descends upon their community. It’s a tense and entirely watchable movie, great for kicking off your weekend.

Here’s the rest of this weekend’s notable programming:

Friday Night In with The Morgans (Friday, AMC 10:00 p.m.) — Jeffrey Dean Morgan and Hilarie Burton are back, hopefully with more insight into The Walking Dead.

Betty (Friday, HBO 11:00 p.m.) — This week, the ladies assemble for another all-girls skate session, as Skate Kitchen director Crystal Moselle (The Wolfpack) wraps up a TV season for her O.G. crew for this funny and freewheeling series.

Billions (Sunday, Showtime 9:00 p.m.) — Taylor’s attempting to make an impact with the new venture while Axe’s plans might be derailed by an old scheme.

Quiz (Sunday, AMC 9:00 p.m.) — Take Two puts Charles Ingram on the hotseat with thrown-away lifelines presenting problems. The production team soon grows suspicious due to his quick turnaround, so is he cheating or simply a genius?

Snowpiercer (Sunday, TNT 9:00 p.m.) — Layton’s murder investigation builds to a climax, so the show can move onto other topics next week with less distraction. Also, Melanie’s big secret is about to be unraveled.

I Know This Much Is True (Sunday, HBO 9:00 p.m.) — It’s the penultimate episode of Mark Ruffalo’s (well-acted) portrayal of two identical twins with a troubled, miserable relationship.

Penny Dreadful: City of Angels (Sunday, Showtime 10:00 p.m.) — A visit for Tiago makes him feel super guilty over Diego’s confession, while dueling allegiances spawn trouble for Brian, and Josefina’s newfound faith gets… interesting.

Insecure (Sunday, HBO 10:00 p.m.) — Issa’s doing a platonic favor while that whole block party-failure thing still looms in the rear view mirror. Molly’s also attempting new coping methods, so watch out.

Last year, Lio Rush was the subject of a whole slew of rumors about having heat backstage in WWE for complaining and being “disrespectful” to veterans. This was when he was taken off TV after a well-received run as Bobby Lashley’s manager. After than he returned to NXT for a run as Cruiserweight Champion last fall, and he stopped appearing in March of this year, making clear that he didn’t want to wrestle during the COVID-19 pandemic.

After all that, nobody was particularly surprised when he was one of the many WWE Superstars released from the company in April. Naturally that left him even more free to speak his mind. For one thing, Lio has made it clear that he doesn’t care for the NXT storyline about Drake Maverick, who was also released in April, earning his job back. And as of today, Lio has brought even more of his own problems with the company to light. On his social media, he posted screenshots of an email, with the names removed, that he wrote to WWE management about what he calls a “hostile work environment” in WWE.

Here’s the full text, including Lio’s introduction and the text of the email:

For too long now I’ve dealt with a lot of bad publicity, rumours and stories on the internet that attack, not just me as a wrestler, but attack my integrity. The attacks on my character have gone on too long without my side being heard.
With everything going on in the world and a lot of social issues being brought to the forefront, I have to empower others by empowering myself. How can we expect change without sharing the experiences that illustrate the insensitivities that divide us?

Please be clear, I am in no way insinuating that the WWE is a racist company, nor am I commenting on the racial attitudes of any of the companies individuals. However, this email shows that I expressed concerns of racial insensitivity and my feelings as a young African American male to the WWE office during the incidents that have brought so much negativity to my name.
Our lives begin to end the day we become silent about things that matter – Martin Luther King

Dear [redacted]

The situation started with a fairly mellow conversation with [redacted] after a bus ride he pulled me to the side and explained how it’s expected as a gesture of respect for the new wrestlers to offer beers and drinks to the guys who’ve been here longer and ask that I also help carry coolers off the bus.

I didn’t think much of this until another conversation was brought to me by one of the [redacted] who re enforced what [redacted] had said and advised me that it was in my best interest to comply as well as telling me that new wrestlers are expected to help carry the older guys bags off from underneath the bus.

The situation took a more negative turn when [redacted] approached me about the same subject during my personal time, and added the warning that other wrestlers are talking negatively behind my back because of my unwillingness to hand out alcohol and carry other wrestlers bags.

The situation drastically escalated at the bologna live event 20 mins before I was scheduled to perform. Once again, [redacted] pulled me to the side in gorilla telling me that other wrestlers are continuing to talk negatively about me and advised that I comply with the demands of the other wrestlers. Further more he told me that a female wrestler had a accused my fiancé of entering the female locker room.

The negative gossip surrounding my name has escalated to out right lies in order to damage my professional reputation. At no point did my fiancé enter the female locker room or any locker room for that matter. WWE security were witness to myself and my fiancé waiting in the stands pre show for 4 hours.

As for the continued harassment to serve other wrestlers with beer and to carry their luggage, I fundamentally disagree with this type of hazing. It is not within my job description or contract to perform duties of this kind. I would like it to be noted that I don’t consider myself above any particular type of task, when breaking down rings was a part of my duties, I performed all duties happy and professionally. However what I am being told to do here is degrading and unprofessional. I don’t believe that any of us are above or below each other, no would should be asked to serve another person or carry their belongings, but I feel very strongly about his matter being a young African American male. I find these demands to be racially insensitive.

I feel that my non compliance has resulted in a escalating harassment that I find to be unacceptable.

I would like to discuss this matter with you in person as soon as possible.

I appreciate your time.

Some might disagree, but I would argue that if WWE wants to be considered a legitimate entertainment company, rather than an old-fashioned brotherhood of carnies, there’s no place for the kind of “frat rush” behavior that Lio describes. And he’s not wrong that it’s a particularly weird look for white wrestlers, regardless of their seniority, to treat a young black coworker like a caddie.

Hip-hop came out in force online to pay tribute to the late Breonna Taylor on what would have been her 27th birthday. The Louisville native was fatally shot by Louisville Metro Police Department (LMPD) officers on March 13, 2020 while serving a “no-knock warrant” for selling controlled substances. Taylor was shot eight times after her boyfriend, Kenneth Walker, opened fire on what he believed to be intruders who hadn’t announced themselves as police officers. No drugs were found in the apartment. Taylor’s death, along with those of Ahmaud Arbery and George Floyd, sparked nationwide protests against police brutality.

Taylor, who was an EMT for University of Louisville Jewish Hospital and Norton Healthcare, would have been 27 today. Her birthday became a rallying cry for the #SayHerName social media movement which calls attention to the Black, female victims of police violence who are ordinarily overlooked by some who choose to focus on the Black men killed by police. Among the artists paying tribute to Breonna Taylor were stars like Alicia Keys, Ari Lennox, Chance The Rapper, Charli XCX, Chika, Earthgang, Janelle Monae, Jhene Aiko, Kash Doll, Kehlani, Lil Dicky, Missy Elliott, Nas, Rapsody, and more. Many shared resources to organizations combatting police violence and advocating for justice reform.

See some of the tributes to Breonna Taylor below.

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

Hannibal is on Netflix!

It was revealed last month that all three seasons of NBC’s critically adored psychological horror series starring Mads “About You” Mikkelsen as Dr. Hannibal Lecter, Hugh Dancy as Will Graham, and erotic tension as itself would be available on the streaming service beginning Friday, June 5. Well, today is Friday, June 5, but when Hannibal fans (Fannibals) in the United States went to the show’s page this morning, only season one was available to gorge on every like episode like it’s a plate of liver with fava beans.

Now the whole thing’s there. What happened?

After reaching out to Netflix, Twitter user Hail Aphrodite! wrote, “Chatted with the Netflix help desk about why only season one of Hannibal is available and was told I’d get an email if/when season 2 and 3 become available. I asked if they’d be available ‘soon’ and was told ‘We don’t have any updates yet.’ Not entirely sure how to interpret this.” It was probably a temporary regional licensing issue (exciting!), or maybe an “upload problem to Netflix,” according to What’s On Netflix. Or maybe Netflix knew what it was doing.

Still, this is not a fanbase you want to mess with. Unless…

All will be forgiven if the long-rumored season four finally happens.

On Wednesday, for the first time since early March, New York City logged its first day with zero confirmed deaths from COVID-19. For a city that became the nation’s biggest coronavirus hotspot by far, with a daily peak of 590 deaths on April 7, that’s wonderful news.

There is one caveat, though. According to the New York Daily News, records released by the city showed three “probable” deaths from the virus, which may very well end up being confirmed. Even at that, though, the milestone of zero confirmed deaths in a 24-hour period was met with celebration by officials in the city, which has seen nearly 17,000 confirmed deaths and more than 4,700 probable deaths in the past three months.

Mayor Bill De Blasio also explained in a press conference that the city had also reached three key reopening thresholds on Wednesday in hospital admissions, ICU admissions and testing. According to the New York State website, New York City will begin phase one of reopening on June 8.

“That is very good news,” De Blasio said. “Whatever else we’re fighting, whatever else we have to overcome, this is what is going to allow us to move forward.”

Of course, the virus hasn’t disappeared, so this milestone is not a mark on a linear timeline. Public health and infectious disease experts have prepared us for the idea that the pandemic will come in waves, with peaks and valleys and hotspots invariably popping up in different places.

But in some way, that’s all the more reason to celebrate when we do have a big dip. We need moments of hope to break up the long battle we’re fighting with this virus. After the intensity of lockdowns and the tragedy New York has experienced, having some space to breathe and something to feel happy about feels like a much needed—even if temporary—relief.

In the days after the death of George Floyd and the protests that have followed, musicians have shared some music inspired by these current events. The latest to make their voices heard in this way are Nasty C and T.I., who have shared their new collaboration, “They Don’t.”

Nasty C sings on the chorus, “They don’t want me to sleep, they don’t want me to dream / They don’t want to see my people livin’ good and at ease / They wanna lock ’em all up and then get rid of the keys / We ain’t never free.” On his verse, T.I. directly discusses the current state of America: “Guess they’d rather see us all in civil unrest / Than to go and make some f*ckin’ arrests, f*ck is that? / Well, after that, here’s to getting exactly what you expect / How you ‘posed to serve and protect with your knee on my neck?”

A meet-up between T.I. and Nasty C has been slowly brewing for a while now. Back in late 2018, Nasty C shared a DM he received from T.I., telling him that he heard is music and that he enjoyed it. A few months later, T.I. was speaking at a press event about his relationship with African musicians, and he mentioned that he recorded a song with Nasty C. Now T.I. is set to appear on Nasty C’s upcoming album, Zulu Man With Some Power (presumably with this new song). Nasty C said of the T.I.’s guest spot on the album, “I hope it opens up a whole new lane for American hip-hop artists to interact with African hip-hop artists. In bridging those gaps, I want people to realize there are a lot more flavors here.”

Listen to “They Don’t” above.

In an appearance at a rally in Seattle on Thursday night, Storm teammates Breanna Stewart and Jewell Loyd were joined by Bulls guard Zach LaVine and Washington men’s basketball coach Mike Hopkins to speak out against police violence and systemic racism.

The rally was organized by Washington assistant Will Conroy, but among the star athletes in attendance, it was Stewart, the WNBA’s 2019 regular season and Finals MVP, who spoke first.

“I’m disappointed in the country I represent with USA Basketball and a country that still has racism,” she said. “Racism is a big problem in our country.”

Stewart added: “I can’t relate to the Black community, I know what I’m feeling, you guys are feeling 1,000 times more, and I’m just going to continue to do my best to create change.”

The four-time champion at Connecticut pledged to educate herself and her family members, and do the work that has been “put off” for so long. Lloyd then took the microphone and told the story of calling her father recently. The Storm standout recalls being saddened by the fact that he felt his “biggest success in life” was raising children who lived past 25 years old.

“That can’t be the only success story that the black community knows and understands,” Loyd said. “There’s so much more that we have to give as human beings.”

LaVine, a native of Renton, Wash., spoke next, pledging to do a better job of being informed politically and making it a priority to vote.

Rarely do you see the genuine, humble perspective of athletes like what has been shared by these three, and many, many others around the country the past two weeks. Communities are hurting, and it’s one thing to talk about conversations that must be had, and another to start them oneself.

Judy And Punch is an endearingly odd, theatrically Australian take on The Witch; a Witch for people who unironically Abba, say. Or maybe it’s more like a British prestige TV take on Willow. Whatever the comparison, it’s fully realized, idiosyncratic, and tough to pigeonhole, the kind of movie that feels like it came from a far away land, and did.

Written and directed by Mirrah Foulkes, Judy comes from Blue Tongue Films, an Australian production company that has in the past given us Animal Kingdom, Hesher, War Machine, and The King, among others. This one feels like a departure from the angst and grit of those, not exactly “campy,” but certainly with an unabashed theatricality. Mia Wasikowska from Alice in Wonderland plays the titular Judy, opposite Damon Herriman (Tarantino’s Charles Manson) as Punch, puppeteers in a fictional Elizabethan-ish backwater called Seaside (which isn’t actually near the sea, but hoped to lure investors who might believe that it was). They dream of taking their puppet show to the big time, and escaping their provincial village, where the chief recreational activity is the stoning to death of heretical women.

Mostly they embody the characteristics of the marionettes they control — Judy just trying to live while being saddled with the abusive Punch. Wasikowska always seems to get cast in these fantasy stories and it’s not hard to see why. Something about her penetrating lemur gaze and delicate features just screams storybook ingenue. Herriman, meanwhile, with his jutting jaw and iguana mouth, and eyebrows that seem to have been installed upside down, trades strict realism for a theatricality so committed that it almost becomes realism again. It helps that he’s playing an entertainer, but he’s clearly working his ass off here, and it’s mesmerizing.

Judy and Punch is very much a “reimagining” of the classic(ally violent) puppet show, exploring what exactly it means for a slapstick domestic violence show (for the whole family!) to have survived for hundreds of years, while trying to rewrite its history as something more empowering. We’ve become somewhat inured to the corporate corny, female-empowerment-as-genre stories we get here, but Judy and Punch‘s version is quainter, more like Rocky Horror or Tim Burton where outcasts and goth kids matter too, gosh darn it.

That’s the pitch, anyway. Judy and Punch‘s real hook is the world itself, with colorfully baroque sets and a cast where committed veterans mingle with magnificently odd-faced characters, complete with dwarves, town drunks, and albinos. The townsfolk are scraggled, poxy, and red-cheeked, spraying spittle as they bellow at one another through a kaleidoscope of bread-mouthed Anglo-Celtic accents. While they hunt witches and stone spinsters, a matriarchal heretic camp of broad-shouldered braid-haired ladies lives happily off the grid in the woods, foraging fruit and doing tai chi in the morning fog, free from masculine tyranny. It’s hard to mix the earnest with the goofy this well, but Australians might be especially suited to it.

Punch, a vain, alcoholic abuser who hates even old people and small dogs, eventually gets his reckoning, as expected. It’s not quite the glorious crescendo we might hope, but it is just odd enough to be compelling. Judy and Punch may not be as thought-provoking as it wants to be, but what it lacks in cultural critique it more than makes up for in escapism, eccentricity, and eye candy. It’s transporting, in every sense of the word, and it comes along just when we most seem to need it.

‘Judy and Punch’ is available now on VOD. Vince Mancini is on Twitter. You can access his archive of reviews here.

As Mark Calaway continues his ongoing media tour in support of the WWE Network docuseries Undertaker: The Last Ride, we keep getting new nuggets of information and lore about one of the most mysterious and protected characters the pro wrestling business has ever seen. We learned he was “disappointed” in his WrestleMania 33 main event with Roman Reigns and that he doesn’t think he could pull off the “mystique” of the Undertaker character in present-day WWE anymore. But this latest tidbit of information, coming from the Bill Simmons Podcast (via Wrestling Inc.), fleshes out even more details around his disastrous WrestleMania 30 match against Brock Lesnar, which had already been covered in episode one of The Last Ride — but now we know Calaway’s concussion was even more severe than the docuseries let on.

“No one even knew [I was concussed]. Brock got hyper nervous about it but you could tell, maybe for the casual fan you couldn’t tell but anyone who follows our business could tell. My memory of that day stops at about 3:30 in the afternoon, that’s the last memory I have. My wife had come backstage as she normally does before I start going through my process, I had told her what was going to happen and calmed her down and that was it. I have no recollection of the match, it was 4 in the morning before I even knew what my name was.

“I basically stayed in my room in the dark for 2 weeks. I’ve been concussed before, but never to that level. I’ve never had the lingering headache and sensitivity to the light, that had never happened to that extreme before. It was strange. Not being able to remember, I had been concussed a few times and been able to finish the match and know when it happened but not that time.”

Amnesia, light sensitivity and lingering headaches are all signs of a grade 3 (severe) concussion and Post-Concussion Syndrome, so it sounds like Taker was really knocked for a loop during the match that ended the Streak. Thankfully, it appears he’s been able to fully recover.

Episode four of Undertaker: The Last Ride premieres Sunday, June 14 on WWE Network.