What Space Force is and is not will be revealed to you when you watch it (it’s available to stream now on Netflix). As Greg Daniels told us when we spoke a couple of weeks ago, he’s eager for people to stop thinking that the show is “The Office in outer space,” hoping trailers and initial reads would be powerful enough for people to divorce themselves from the idea that Michael Scott somehow graduated from manager of a midsize paper company to the rank of four-star general. What Daniels is comfortable with, it seems, is the idea that his shows take some time for people to get comfortable with them. And then, as you may have noticed with your streaming habits, we seem to never let go of them, watching and rewatching new-classics like The Office and Parks And Rec that Daniels created, particularly at a time when TV comfort food is in high demand.

Whether Space Force will have the same hold remains to be seen. What it has going for it is an All-Star cast that evokes the memory of long-ago icon-rich comedies like It’s A Mad Mad World from Daniels when he lavishes praise on players like Roy Wood Jr, Ben Schwartz, Don Lake, Steve Carell, and others. It also has a deliberate focus on people — with all our insecurities, charm, and internal struggles between instinct, habit, and duty — striving to accomplish something that might not be as important as the journey. We spoke with Daniels about the show’s identity, the power of deploying John Malkovich in a comedy, and making comedy for the long haul.
I can see a version of Space Force that would have been very different — more pointed, more political. This is not that. You really focus on the people, not necessarily the “Space Force” joke.

Obviously, the show is set in the new branch of the military, but we didn’t want it to be a super timely, disposable thing. We wanted it to be a character comedy, and it’s about stuff. I think it has themes, but we’re sort of presenting a long-range look, I would say. We’re talking about nationalism and some of the greatest moments of our history, and people with integrity trying to achieve audacious things. So I think the show is saying stuff, but it’s not like it’s meant for late-night, one-time viewing.

Yeah. I think, like you’re saying, themes about nationalism, science and anti-science, and things along those lines definitely feel of this moment, but they’re also going to outlast this moment. These things are going to be topics for a long time. I’m assuming that’s part of the reason why Trump isn’t named and why he’s not a major factor.

Well, I think that there’s a way to do satire where it’s a little more subtle. Where it’s about taking a look at the whole situation and picking the good parts of different arguments and making an alternative vision of how people ought to act, maybe. In terms of just referencing him, I think that there’s a good bit of comedy fatigue in going after that name, so I think he’s just an example of a certain kind of nationalistic politician that we have now in Brazil, Hungary, and Poland. He’s not the only person, so when you take one step back, you realize, “Oh, okay. Well, we’re sort of talking about the military people who actually know what’s going on and then the people who are all about politics.” I guess it’s the goal to still be able to make that point in a different administration or without not making that point.

The casting of John Malkovich as Mallory is just fantastic, and I think he and Carell really play well off each other. Can you tell me a little bit about the importance of their dynamic and the punch–counterpunch relationship that they have?

We had a show before we had a script and we had talked about a lot of ideas for Steve’s character, a lot of comedy and storylines and stuff like that, and the show was announced and Malkovich’s agent called me and said, “Hey, he really is tickled by the concept of this. If you can think of a way to use him, he’s open to it.” So that actually inspired us to picture that and be like, “Well, what would it be like with John Malkovich in the show?” So we kind of wrote Mallory in the hopes of getting Malkovich, but it became more of a leader-and-his-buddy, man-of-science kind of relationship. Do you know the Master and Commander book series?

No, I don’t.

I guess they made a movie out of it with the guy who was in Gladiator, Russell Crowe.

That I’ve heard of.

There’s a ship’s captain and then there’s the science officer on the ship, and it’s set in the 1800s or something. I think it’s a good way to have characters that are representing different ideas but equally strong so you can have a debate on their points of view that are pretty evenly matched. Malkovich is so funny, and I feel he’s always in dramas where he’s a sparkling, interesting person with a sense of humor but he doesn’t necessarily get used in a straight-ahead, only-for-comedy way much, and it’s been really fun to give him that opportunity.

Yeah, and he just runs with it. It’s really spectacular.

Yeah.

Speaking of the cast, Don Lake feels like a secret weapon. Obviously, you’ve done a lot of things where you have a rich ensemble and there’s always someone that kind of stands out, and I feel like he steals a lot of scenes.

Yeah, he really does. I love Don Lake so much, and I wasn’t that familiar with him before we started casting. He’s done a lot of stuff with Christopher Guest and he’s obviously super trained as a comedian and stuff, but when he came in to do all the Brad stuff, I really felt like he was a comedy character from the 1960s. He sort of walked in like Don Knotts, and it was such a cool energy that I hadn’t seen on TV lately. Shows like The Office, Parks and Rec, and King Of The Hill — a lot of people are finding those shows now, re-finding those shows now as opposed to other types of shows that are maybe a little more sharp or drama heavy.

Why do you think it is that right now in this moment that people are really rediscovering a lot of your work?

Well, I am not going to look a gift horse in the mouth. I’m happy that everybody’s gone that way. I think what it is, is that I always pitched these shows as being part of a tradition of character comedy. Going back to Mary Tyler Moore or Cheers, or something. All those shows which I really respected growing up. The comedy is aimed at the long term and sometimes those shows have trouble getting started because since the jokes are coming from people’s personalities, you’ve got to learn the personalities first to appreciate the jokes.

And so shows like Mary Tyler Moore and Cheers had very rocky beginning as did The Office, as did Parks. And I always was telling the network executives, “This is for the longterm because people’s personalities and people’s characters are not something that you’re not going to be caring about ten years from now because it’s just human beings and how they interact.” So it was hard to get them launched because they were built for the longterm. But now I guess it’s paying off because it’s the long term and people are still enjoying them.

‘Space Force’ begins streaming on Netflix on May 29.

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Netflix has a new comedy out, called The Lovebirds, directed by Michael Showalter, which is like a lot of recent-ish movies. Kumail Nanjiani and Issa Rae play a bickering couple on their way to a party, who, just as they’re breaking up, hit a guy on a bicycle with their car. Suddenly they’re thrust into a kooky blackmail conspiracy.

It’s one of those movies where it’s sort of an action movie, because it has the skeletal plot of a thriller, but it’s sort of a comedy because the actors act “funny” and kind of half-ass their way through the thriller parts. It’s sort of like the Kardashian show, where the plots are like discarded sitcom B-story but the draw is people with “compelling” real-life personas bumbling their way through them.

The Lovebirds leverages the audience’s love for Kumail and Issa Rae (both of whom I too enjoy on their respective shows, Insecure and Silicon Valley) in the same way. For some, simply seeing these two interact is enough to carry a movie. To me, these kinds of double-half-assed hybrids, where unfinished action meets character arc-free comedy movie, are a waste of talent and energy. Laziness can work in comedy, but these kinds of movies — Knight and Day and Snatched and The Tourist et al among them — seem to expend their energy in all the wrong ways.

The jokes sound like improv jokes, extemporaneous and semi-topical and built upon puns or fourth-wall breaking, but clearly they aren’t improvised because this is a big, high-concept plot with car chases and people getting killed and constant life-or-death situations. You probably recognize the joke cadence, mimicking a sitcom, with lots of arch, faux-contentious back-and-forths, where every micro action is stretched and dissected and analyzed and commented upon, and then dredged up again five minutes later for a callback. Again, it feels like improv, and they’re the kind of jokes that work well in semi-improvisational shows, like Curb Your Enthusiasm or The Trip series.

But the stakes in Curb or The Trip are kept intentionally low. It’s easier to enjoy jokey conversation when the characters are just sort of lazing around, situations where you might expect people to joke. Low stakes allow us to appreciate Seinfeldian riffs about how people like to say “salsa” or why cars still have cigarette lighters in them. The latter is one of Nanjiani’s character’s riffs in The Lovebirds, which he delivers while he and Ray’s character are supposedly on the run from police after they’ve just witnessed a murder. Is that meant to be his character trait, guy-who-can’t-stop-doing bits even when he’s running from the police?

Comedy lives on a different plane of reality than thriller. When a stand-up comic does a bit about his mother-in-law or airline food, we don’t need to believe in the literal reality of him having bad in-laws or having experienced bad airline food to enjoy it. It invokes a kind of shared reality. Whereas if someone at a party told you a story about getting framed for murder and then you later found out he was lying, you’d be disappointed and upset. The latter is a specific reality. Movies like these attempt to live in both realities at once.

It’s not that an action movie or a movie with car chases and murders can never be funny, plenty are — Burn After Reading or Lethal Weapon 2, for instance. But generally those aren’t funny because they cast a comedian in one of the roles and had him do a hot five on dating apps in the middle. They live in their specific realities. They don’t keep invoking the shared, relatable reality every time they want to make a joke.

Plenty of people want to see more Kumail and Issa so badly that they don’t mind. I suspect these movies exist largely for the pitch. They exist because the people holding the purse strings feel more comfortable shelling out for some high concept like “they’re about to break up and then they witness a murder!” than for “it’s kind of a show about nothing, but trust me it’ll be funny!”

But please, studio execs, I beg of you: can we let some of the shows and movies be about nothing again? Or at least be about… less? These are not great displays of American comedy. There are four Trip movies. I’m willing to bet that there won’t be more Lovebirdses.

‘The Lovebirds’ is available now on Netflix. Vince Mancini is on Twitter. You can access his archive of reviews here.

Fitting right into the recent uptick of female talent in the hip-hop world, Blimes and Gab had their viral moment in 2018 courtesy of “Come Correct.” The video and song arrived before the group teamed up as an official duo, but following the formation, Blimes and Gab returned with another single in “Feelin’ It.” The song debuted their “big auntie energy” while confirming their chemistry was here to stay. Along with its release, the duo announced that a new joint project was on the way and nearly a year later, we know now when it will arrive.

Proclaiming that their debut album Talk About It would arrive June 26, Blimes And Gab also shared a new single from the album with “Shelleys (It’s Cool).” The disco-leaning track finds the duo riding a groove quite pleasing to the ear. Speaking on the song in a press release, Blimes and Gab said, “It’s the secret ingredient in the Blimes and Gab sauce. You’re gonna want it on everything.”

With features from Method Man, Iamsu!, Bahamadia, and Jay Park set to appear on the album, the West Coast duo also revealed the cover art for Talk About It thanks to its preorder link. Rocking contrasting black and yellow colors, Blimes Brixton and Gifted Gab are split-screened with phones in hand, a visual that fits in perfectly with the album’s title.

Press play on the video above to hear “Shelleys (It’s Cool).”

Talk About It is out 06/26 via The Orchard. Pre-order it here.

As February came to a close, a new internet sensation broke out in the form of an entertaining music video that would be heralded as the second coming of “Old Town Road.” It soon was discovered that the man responsible for the song in the video, “Rascal,” was West Coast singer RMR. The juxtaposition posed between the ski-masked squad and the Rasal Flatts-sampling track quickly grabbed the attention of fans and from there a new band of supporters was formed. RMR would return a little over a month later with “Dealer.” The song would later be remixed by Lil Baby and Future and receive a visual treatment with the three artists as well.

Putting the finishing touches on his upcoming EP, Drug Dealing Is A Lost Art, RMR returns with yet another new single, “I’m Not Over You.” Rather than the usual midnight release, RMR took to Desus & Mero‘s Showtime platform to debut the single. For the performance, RMR is seen frantically stumbling through a sharply-lit abandoned building while pouring his heart on the new song.

Press play on the video above to hear “I’m Not Over You” and stay tuned for Drug Dealing Is A Lost Art which arrives 6/5 via Warner Records.

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

Serving as another step upward for the Brooklyn rapper, Saint JHN had a strong 2019 thanks to his sophomore album, Ghetto Lenny’s Love Songs. The project saw him working alongside well-known acts like Meek Mill, Lil Baby, Lenny Kravitz, and A Boogie Wit Da Hoodie. However, as of late, Saint JHN’s popularity can be credited to his 2018 debut album, Collection One, as it is the home of slow-burning single, “Roses.” Given added life thanks to a remix by DJ Imanbek, the track has grown to be Saint JHN’s most successful. Celebrating that very success, Saint JHN comes through with a new remix of the track.

Sliding through with Future for the new remix, the two rappers bring new energy to the track as Future contributes ad libs to Saint JHN’s verses as well as the song’s hook before laying a verse of his own. On his verse Future sticks to his usual format, letting off raps about women and jewels. The remix comes after Saint JHN stepped into the top 20 of the Billboard singles chart with “Roses” as well as topping the charts in Australia, the Netherlands, Ireland, New Zealand, and the UK.

The remix also arrives after Saint JHN joined Marshmello and Southside for their “Been Thru This Before,” which arrived in early April.

To hear the remix of “Roses,” press play above.

It was just two months ago that Young Dolph announced that he would be retiring from music in a post to his Instagram story saying, “highly considering quitting music because I really wanna be with my kids 24/7.” Seemingly confirmed by Complex after reaching out to the Memphis rapper, Dolph had his eyes set on being a family man for the foreseeable future. However, two weeks later he made his return by teasing a new album was set to drop within hours. The album never arrived but fans were given a treat a month later with his “Sunshine” single.

Following the quarantine visual Dolph delivered for “Sunshine,” the Memphis native calls on Megan Thee Stallion as the two work some southern magic on their new single, “RNB.” Showing love to the money-packing guys and girls all around, Dolph and Megan deliver some crisp one-liners for their fans’ enjoyment. Dolph claims that he has “bad b*tches coming in by the twos like a Twix,” while Megan says, “this is not Sesame Street, I don’t kick it with no birds.”

The new single also arrives after Megan notched the first Billboard singles chart-topper of her career courtesy of her “Savage (Remix)” with Beyonce.

Listen to Dolph and Megan’s first collaboration in the video above.

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

To close out 2018, 6lack established himself as one of R&B’s brightest thanks to his sophomore album, East Atlanta Love Letter. The 14-track project landed on a number of year-end lists and introduced the Atlanta-born singer to a plethora of new ears. In the year and change following, new releases by 6lack have come in the form of features, some of which include K Camp’s “Black Men Don’t Cheat,” “Yo Love” with Vince Staples and Mereba, and Tinashe’s “Touch & Go.” With his third album still in progress, 6lack slides through with a new freestyle.

Sharing his “ATL Freestyle” with fans, many of which have been near-impatient in their wait for new music, 6lack brings his mellow nonchalance to reflect on his past and present in his beloved hometown. From performances in Atlanta to his friends and his youth, 6lack paints a picture of both the beauty and the ugliness in the hip-hop epicenter.

Hours prior to releasing the song, 6lack posted a message to his social media pages commenting on the current state of being black in America. Beginning his message, he revealed he was not entirely comfortable releasing a song due to the amount of “pain & anger I feel in my heart.” Further down in the letter, he spoke to his reason behind the letter: “I’m writing this letter because my heart and my skin color won’t ever allow me to be in the public eye and not make it clear where I stand in times of injustice… it wouldn’t be right doing so [releasing “ATL Freestyle”] without using my platform to bring awareness to larger social topics at hand.”

Listen to “ATL Freestyle” in the video above.

Following his stellar debut album, Good For You, one that proved he was much more than a one-hit-wonder, and his sophomore project OnePointFive, Amine took a well-deserved year off in 2019, giving us just a few singles including last May’s “Places + Friends” as well as a few other untethered releases. Reemerging this year and declaring 2020 as his for the taking, the Portland rapper returned with “Shimmy” in late February. Falling back for a few months, Amine touches down once again with a new single.

Bringing a similar hard-hitting feeling to his latest, Amine returns with “Riri.” The track, named after Rihanna who just celebrated the 15 years in the music industry earlier this week, finds Amine speaking about a partner who compares herself to the famed pop-star but fails to reach that mark by a landslide. Entangled in an on-and-off relationship with the girl, Amine declares enough is enough as his partner has broken his heart not once, but three times. Detailing his distaste with the relationship, the song ends with a skit from actor Jak Knight, a writer on the popular ABC show, Black-ish. It remains to be seen whether Amine has a project ready to go in the near future.

Check out “Riri” above.

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