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Colts Coach Frank Reich Reportedly Apologized To Owner Jim Irsay After Pushing To Acquire Carson Wentz Last Year

The Indianapolis Colts decided the Carson Wentz era didn’t need to last longer than one year. After acquiring the well-traveled signal in a trade last offseason, Indianapolis decided to send him to the Washington Commanders on Wednesday with a collection of draft picks making their way back to the Colts.

While Wentz put up fine numbers in his one year with the team, Indianapolis only went 9-8 and did not make the playoffs, in large part because the team lost to the Jacksonville Jaguars in the final week of the season. Now, in a new piece by Zak Keefer of The Athletic, details are coming out about the Wentz era, with the quarterback displaying “a lack of leadership, a resistance to hard coaching and a reckless style of play.”

Perhaps the most damning indication is how Colts coach Frank Reich responded to his being on the team. Reich was Wentz’s offensive coordinator in Philadelphia and advocated for bringing him on board, but according to Keefer, Reich was willing to say to owner Jim Irsay that things did not work out like he thought.

Reich, who originally pushed for the trade to acquire Wentz last winter, apologized to Irsay after the season, according to a source. The coach believed he could resurrect Wentz’s stalled career and solve the Colts’ quarterback conundrum.

“I stuck my neck out for him last year,” Reich admitted earlier this month.

Now, Wentz will try to jumpstart his his career in the nation’s capital, while the Colts will hope their next big name quarterback acquisition can justify getting at least two years in town.

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Movement Festival Announces Its 2022 Lineup With Flying Lotus And 2 Chainz Joining Dance Music Legends

One of the most important music festivals in the country, Detroit’s Movement Festival is a reminder of the undying influence of dance music culture. Some form of Movement has taken place in Detroit’s Hart Plaza for over 20 years, and over 100 acts will perform over this Memorial Day Weekend from May 28th – 30th, 2022. 2 Chainz and Flying Lotus have been added to a headlining slate that already included Jeff Mills, Richie Hawtin, and Adam Beyer.

What Movement does best, is present a canvas of dance music mainstays from both electronic music’s beginnings and the contemporary artists that dominate the dance floor today. A Carl Craig B2B set with James Murphy illustrates this collision of the different ends of the spectrum the best and the thoroughly packed lineup builds from there.

Storied influential selectors are everywhere on this bill. From Detroit techno legends in Juan Atkins and Kevin Saunderson (performing under his E-Dancer moniker) to two of the greatest drum and bass producers of all time in LTJ Bukem and Goldie, who’ll be performing a B2B set for the first time ever. The slate of budding modern masters is deep, with Maya Jane Coles and Seth Troxler to Skrillex and Soulection founder Joe Kay.

It’s a loaded lineup for the return of this dynamic cultural function. peep the full lineup and get tickets are now on sale at www.movementfestival.com.

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Sigrid Shares The Joyful New Track, ‘It Gets Dark,’ Setting The Stage For A Big Year

When we last heard from Sigrid, the blistering Norwegian pop singer was releasing a new version of her collaboration with Griff, “Head On Fire,” that featured both MØ and King Princess. Last week’s new version of that song was preceded by its debut in January when it was named BBC Radio One’s “Hottest Record In The World.” It seems that Sigrid has a knack for making hot records lately because today’s release of “It Gets Dark” was also tagged with the “Hottest Record” label and she’s fired up about it.

“I believe you need to feel the lows in life to feel the highs, and you have to know what sucks to then properly appreciate the good stuff,” Sigrid said in a statement. “It Gets Dark” is an ode to that. I honestly don’t think I’ve ever been as excited about a single release before.”

Chamber-like piano lays the groundwork for a pop drum beat and wild guitar brimming with joy and an outpouring of energy. “I’m moving at the speed of light, I have to go. But now I know, it gets dark so I can see the stars,” the “Strangers” star sings on the song, which is instantly anthemic.

Listen to “It Gets Dark” above.

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

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Jaden McDaniels Has Turned Into A Crucial Member Of The Timberwolves’ Exciting Young Core

The Minnesota Timberwolves set individual and collective goals for themselves before the season began. One of those goals: Register more wins than last year before the All-Star Break.

Fewer than five weeks into 2021-22, they achieved that goal. By mid-February, they entered the season’s brief hiatus at 31-28. A year ago, they were 7-28 at the All-Star break. Weeks later, they’re 37-29 overall, good for seventh in the West, and 21-9 since Jan. 3. Their .561 win percentage is the franchise’s second-best mark since 2004-05, topped only by Jimmy Butler’s one-year cameo in 2017-18.

Proving integral to this 2022 turnaround is second-year forward Jaden McDaniels. Across those 30 games, the lanky, sprawling 6’9 wing is averaging 10.7 points, 3.7 rebounds, and 1.3 assists on 58 percent true shooting (.477/.350/.775 split).

McDaniels is one of Minnesota’s five 22-and-under rotation players. Head coach Chris Finch is in his first full season as the lead man. Even Karl-Anthony Towns (26), D’Angelo Russell (25), and Malik Beasley (25) are just now on the cusp of their primes.

“Doing little summer camps and things like that with (Finch) there showed that our chemistry was right. As a coach, he’s a laidback coach — like, he doesn’t give us no restrictions or anything,” McDaniels says. “He lets us play freely. So, I feel like that’s why we all come together so well.”

A youthful, prosperous era of Timberwolves basketball that distinguishes itself from nearly two decades of misfortune and losing appears in its infancy. McDaniels will be pivotal to those efforts, and the flames of positive development have been stoked this year.

Dating back to his rookie season, McDaniels garnered minutes because of his defensive chops and etched offensive utility by shooting 36.4 percent beyond the arc. Yet he’s showcasing significant strides off the dribble and rediscovering the outside jumper that hibernated early on this year — he hit on 26.8 percent from deep prior to Jan. 3. After 54 percent of his shots were triples last season, that rate is down to 46.3 percent this season. He’s also buried 56.4 percent of his twos, a jump from 54.4 percent as a rookie, merging both volume and efficiency in his uptick.

Attacking off the catch, he leverages his length and dexterous handle to glide through creases in the defense. The Timberwolves are also occasionally tapping into him as a second-side ball-handler. Amid their 21-9 surge, they lead the NBA in offensive rating. McDaniels’ ability to exploit gaps as a supporting cast member and diversify his contributions beyond stationary shooting are important.

McDaniels tells Dime he’s learning to be more patient with his decisions and reading the defense before acting. Last offseason, he received his first crack at Summer League — due to COVID-19, 2020 Summer League was canceled — and was afforded in-game opportunities to experiment when the final score was trivial.

“I remember last year, I would kind of play all fast and just be like a one-, two-dribble guy. So, during the summer, that was my thing, just to be able to dribble in the paint and create for others,” McDaniels says. “I know last year, I wasn’t really confident in doing those things off the dribble. But I feel like I’m more confident now.”

Most 6’9 wings do not tout the deft ball-handling of McDaniels. Many of the downhill forays included above are punctuated by slithery crossovers and the capacity to navigate busy windows off the dribble. With his intersection of handling and size, covering ground from the perimeter to the interior isn’t the laborious task it may be for many forwards of similar stature.

To enable these sorts of sequences, he focuses on maintaining balance by keeping his back and chest perpendicular with the ground. The aim is to avoid hunching over the ball, which was previously a problem, he says. Now, every successful drive and dribble move bolster his self-belief.

Sometimes, he’ll watch film and notice opportunities in which he didn’t take advantage of extra stride or dribble available to him. Other times, the tape reveals situations where a dribble move worked, but he failed to recognize it in the moment, or reminds him of counters he hasn’t pulled out recently.

The confidence to attempt these audacious plays and deviate away from spot-up shooting stems from his coach and teammates’ unwavering belief in him.

“It helps as well, just knowing that (Finch) trusts you to be able to make those certain plays,” McDaniels says. “If you do make mistakes, he’s gonna be on you. But just knowing that he would like you to do the same thing again. D’Angelo is always telling me, like, ‘You’re not gonna know if you can do things unless you just go out there and try it.’ ”

Among those things is an early offense connection with Russell. Over the past few months, the two have made a habit of teaming up a few times each night to connect on lobs in the dawn of a possession.

Minnesota often initiates plays with a dribble handoff, so opponents will situate themselves between McDaniels and Russell to prepare for that action. In response, McDaniels beelines for the rim and his floor general feeds him.

“It’s not even a play call,” he says. “It’s just a little look he’ll give me and then, it’s time. That’s when I know when to go.”

“One game, I just back cut and he was, like, ‘Yeah, that’s gonna be there every game. You should at least get that once a game,’” McDaniels says. “Every game, I at least get it, get a layup or pass out to a three.”

Through three months, the Timberwolves fielded a top-10 defense. While they’ve slipped to 13th on the season, that’s still a marked improvement from their 28th-place finish a season ago and a component of why they’re within shouting distance of hosting a playoff series.

Finch’s decision to primarily trap ball-screens, which caters more to Towns’ strengths and the arrival of Patrick Beverley, have helped key this resurgence. Jarred Vanderbilt’s presence as a true Swiss Army Knife is crucial — he has a legit All-Defensive case.

At just 21, McDaniels looks like All-Defensive teams will be a recurring honor throughout his career. He guards a spectrum of ball-handlers. He’s exceptionally fluid as a lateral mover, navigates screens efficiently and anticipates driving angles to cut off attacks. His body control means he can absorb contact and stay tethered to assignments.

At the point of attack, his length and frame pose problems. He’s also adept at closeouts, which can be arduous to master, and quickly acknowledges it’s a skill he gleaned from Minnesota’s development staff.

“Last year, they taught me, just be the second jumper-type of thing. Go out and as you run to a closeout, look like you’re gonna leap,” he says. “But for me, being as tall and as long as my arms are, I feel like I don’t have to go as close either. So, I’m a good second jumper, I can still get a good contest on it.”

Perhaps intertwined to some magnitude with schematic shifts is an evolving defensive culture, he says. Players are willing to embrace defense and have bought into “trusting each other’s abilities.” Beverley, a three-time All-Defensive honoree, radiates a level of energy that ripples throughout the roster and harps on the details to maximize execution.

Meanwhile, Russell has embraced the role of defensive communicator to provide positive value in spite of physical limitations. His lack of lateral mobility, strength, and general quickness hinder him, but his feel is astute, so he outsources certain responsibilities.

“He’s like our quarterback. We always tell him, like, ‘Alright, you’re gonna be quarterbacking tonight,’ ” McDaniels says. “Like, he’s always talking, making sure we know where to go before things even happen.”

Hammering home the allure of McDaniels’ defensive toolkit is his off-ball prowess. Not only can he disrupt guys on the ball, he’ll comfortably translate his game to a starkly different role. He’s a highly impactful help-side rim protector, equipped with both a sprightly vertical and the awareness to deploy that gift against oncoming finishers.

On shots within six feet or closer of the hoop, opponents are shooting 11.5 percent worse than average when he’s the primary defender, per NBA.com. His timing and ground coverage are irritants, unavoidable pests that are circumvented at best and overwhelming at worst for offensive players.

He says chasing off-ball shooters around pindown and flare screens is an area of emphasis for improvement. Staying out of foul trouble (4.3 per 36 minutes for his career) is also atop the to-do list. A sheepish chuckle spills out when he mentions the latter, as if growth there is so apparent that his only intermediate solution is to laugh at its painstaking necessity.

Fortunately, his context before that solution arises is far from dire. McDaniels seems in line for his first experience of playoff basketball. Duels with star scorers will be on the itinerary. He’ll benefit from them. Maybe, a couple of foul-plagued games become teachable moments guiding the roadmap ahead.

Adjusting to playoff defenses and the way they guard him alongside such potent scorers and ball-handlers should also be informative. A learning curve is sure to confront him. How he scales that is relevant for himself and the Timberwolves, each of whom are enjoying the present and seem primed to build upon it into the future.

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When Does ‘Obi-Wan Kenobi’ Take Place In Star Wars Timeline?

As the heavily anticipated Obi-Wan Kenobi series inches closer to its debut on Disney+, details on the series have been kept to a minimum as Lucasfilm, much like Marvel, notoriously plays things close to its chest. Obviously, the Ewan McGregor-fronted series would take place after the events of 2005’s Revenge of the Sith, which showed Obi-Wan’s Jedi pupil Anakin Skywalker (Hayden Christensen) turn to the Dark Side and become Darth Vader, but exactly how much time has passed since the final prequel film was not known. Until now.

Following the release of the first Obi-Wan Kenobi teaser trailer, Lucasfilm provided an official synopsis for the series, which places it 10 years after Revenge of the Sith and nine years before the first Star Wars film A New Hope. This timeframe is clearly evident as Obi-Wan is shown keeping a watchful eye on a young Luke Skywalker, who is no longer the small infant being handed to Owen Lars (Joel Edgerton) and his wife Beru (Bonnie Piesse) in the final moments of Sith.

The presence of Inquisitors also places the series further past the events of Revenge of the Sith. Working at the behest of Darth Vaders, the Inquisitors are an elite group of Force sensitive lightsaber wielding assassins tasked with hunting what remains of the Jedi after they were ruthlessly slaughtered by the Emperor’s diabolical Order 66. The Inquisitors were prominently featured in the animated series Star Wars Rebels, which takes place five years before A New Hope. Their live-action debut in Obi-Wan Kenobi is sure to go over huge with Star Wars fans.

Obi-Wan Kenobi starts streaming May 25 on Disney+.

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For The First Time, The Future Of Female Superheroes Looks Hopeful

Female comic book fans are used to waiting.

It’s what they’ve done for over a decade, gamely supporting countless Batman reboots and Spider-Man series; filling theater seats for the likes of Iron Man and Captain America. Women, in general, have modified their cinematic tastes over the years, acclimating to an industry that doesn’t always consider them a high priority when choosing which franchise to boost next – an industry that, up until a few years ago, seemingly couldn’t fathom the idea that a woman might double as a comic book nerd.

And then, Wonder Woman happened.

The film by Patty Jenkins – while not technically the first female-fronted superhero property to grace a screen – marked a huge step forward in the fight for equality amongst the preternaturally-powered-vigilantes-in-spandex set. While Marvel had been churning out crowd-pleasing ensemble-driven romps for years, they’d only allowed women a piece of the action, saving the headlining spots for the likes of Robert Downey Jr. and Chris Hemsworth. Despite having robust plot potential with established characters like Natasha Romanoff (Black Widow) and Wanda Maximoff (Scarlet Witch), sequels to already-cemented storylines were the bread-and-butter they were feeding audiences. At one point, the studio bumped back the release of a planned Captain Marvel outing a few months (along with Ryan Coogler’s Black Panther project, which jumped from 2017 to 2018) in favor of yet another Spider-Man entry after snagging the ability to bring the web-slinger into their universe. But DC – a studio still struggling, in many ways, to find a voice that separated its heroes from the Marvel Cinematic Universe crew – managed to beat their rivals to the finish line. They handed Jenkins the reigns, propelled a fairly unknown Gal Gadot to superstardom, and introduced a novel concept: women superheroes sell.

Fans who had been clamoring for better representation on screen finally had Gadot’s Diana Prince, an Amazonian descendent of gods whose compassion and belief in humanity fueled her superhuman abilities. Soon, Marvel’s Captain Marvel would follow, giving movie fans an introduction to Carol Danvers, a woman underestimated her entire life, who finally socks it to the patriarchy (literally) – on Earth and in space.

Sure, within the world of TV, women had been wearing capes and kicking ass for a while. From Linda Carter’s early days to more recent CW fare like Legends of Tomorrow and CBS’ Supergirl (a character that also got a solo film in the ’80s with Helen Slater in the lead), the small screen seemed more willing to experiment with genre – in terms of its heroes and its audience. But the idea that major studios would take (what they perceived as) a risk on female-fronted film franchises in this modern era was a longer time coming, and one that has sometimes had its share of stumbles (Wonder Woman: 1984), scrapped solo outings, and unwarranted backlash from a smaller subset of the fandom.

That pushback, coupled with Hollywood’s historical tendency to throw in the towel on planned diversity investments the minute a film’s projected box office numbers begin to dip, is what makes this renaissance of female-led superhero stories so exciting, hopeful even. It’s as if, with the success of shows like WandaVision and Hawkeye, and the long-awaited genesis of that solo Black Widow film, fans are finally seeing the fruits of their labor – and by labor we mean the unimaginable effort it’s taken to not rail at the lack of comic book heroines on screen for the last 10 years.

Take WandaVision, a show that likely would’ve been impossible to get made a decade ago. It’s a story about a grieving witch with superpowers who accidentally holds an entire town hostage in an alternate reality she’s created to live out a fantasized existence with her dead lover. Who the hell was pitching that in the Marvel boardroom back in the day? WandaVision expertly blended the best tropes in genre storytelling, packaging them for TV and using the medium to elevate the arcs of characters who never fully got their due on the big screen. Creator Jac Schaeffer was allowed to experiment with Wanda’s story – playing with different decades, testing shooting styles, introducing new heroes – in large part because Wanda’s abilities were so unique and her background was so singular that the possibilities in terms of plot were limitless. Even the wildest twists and most bizarre interactions on the show work, not in spite of the story being told from a woman’s point of view, but precisely because Wanda is a supernaturally powered heroine who’s suffered and lost her way.

The same can be said for Black Widow. Scarlett Johansson put years into the character, finding tiny moments of introspective study while battling alien invasions in Midtown and managing the male egos of her fellow Avengers in films like Civil War. It took the world ending – quite literally – along with a tragic sacrifice for Marvel to finally give us a glimpse of who Natasha Romanoff was away from the Avengers compound. Helmed by Aussie director Cate Shortland, the long-awaited Black Widow solo-film might have been a flashback (you know, to the days when the character was still ALIVE) but it eschewed treading old ground by focusing solely on Natasha’s other found family – the one she thought she’d lost to the Red Room years earlier. By highlighting the character’s unbreakable bond with her sister, Yelena (Florence Pugh) and her “parents” Melina Vostokoff (Rachel Weiz) and the Red Guardian (David Harbour) shed invaluable light on a woman whose mysteriousness was her defining trait for too long. Natasha’s driving motivation throughout the film – to destroy the place that traumatized her as a child and to liberate the women still held captive there – felt decidedly feminist but, even more importantly, it reflected a woman’s growth, from victim to survivor to a needed catalyst for change.

That’s what so many of the new superhero projects with women at the forefront seem to be doing – spotlighting these characters in a way that celebrates the things that make them different from their male counterparts without shying away from the realities of what being a woman – even a mind-bogglingly powerful one – entails. We saw it with Captain Marvel and Wonder Woman, and we’re still seeing it with shows like Hawkeye as Hailee Steinfeld’s Kate Bishop fights to prove herself to her mentor (and her mother) and with Zoe Kravitz’s Catwoman in The Batman. Whether you’d dub Selina Kyle a superhero or not, she is the only character in the film that feels on equal footing with the man in the cowl and her arc – from a young woman forced to survive on the streets, catering to men who view her as a commodity, to a vigilante seeking revenge, to the woman who saves the hero in the end (in more ways than one) – felt surprisingly fulfilling.

And with the success of these films and TV shows, fans of female superheroes only have more women kicking major ass to look forward to. From Nia DaCosta’s next entry in the Captain Marvel series to a spinoff focused on WandaVision’s antagonist Agatha Harkness, Taika Waititi’s new Thor film handing the hammer to Natalie Portman’s Jane Foster, more of the Dora Milaje in the Black Panther sequel, Batgirl, Ms. Marvel, and the possibility of more Harley Quinn, likely in a Gotham City Sirens project, the future suddenly looks bright for women who have been waiting their turn for long enough. And, as long as these movies and shows continue to place characters above multiverse timelines, fleshing out everything that makes these women so compelling as superheroes, the wait will have been worth it.

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Opposing team members surrounded a soccer player whose hijab came off, and it’s fabulous

This article originally appeared on 10.24.19

True acts of sportsmanship are always a delight to see. And a video shared by ESPN that captured a beautiful moment from a women’s soccer match is no exception.

In a WAFF Women’s Club Championship match between Jordan’s Shabab al Ordon Club and Arab Orthodox Club that took place last October, a Muslim player from the latter team had a minor collision with another player that partially removed her hijab.


For women who cover their hair with the hijab, it is an expression of faith and symbol of modesty. For a hijabi woman to be seen in public without that covering is to feel inappropriately exposed.

The players on the opposing team didn’t wear hijab themselves, but they immediately recognized the potential embarrassment of the player. As soon as they saw her kneel down to replace her head covering, players from Shabab al Ordon Club started gathering around her, signaling their teammates to come and form a shield around her while she put everything back into place. It was a spontaneous act, clearly born of understanding, empathy, and respect. Even though those players did not practice the same custom, and even though it wasn’t even their own teammate, they supported this woman’s adherence to her faith tradition without hesitation and gave her the privacy she needed in the moment.

Watch how quickly the players came to her rescue:

Responses to the video have been largely positive. Some of the comments on the ESPN video include:

“Perfect example of respecting someone’s beliefs even if they aren’t yours. Kudos to them…”

“I don’t understand why it is important. But the fact is, I don’t need to understand it to respect it. That was an amazing show of respect.”

“The character and sportsmanship of these athletes is awe inspiring. Freedom of religion isn’t just for Christianity, but for all religions. Kudos.”

“Wow…beautiful. That is a demonstration on how to appreciate and respect differences. These young girls are leading the way. Fantastic!”

“If only the world were like this, where we all respected and appreciated one other’s differences. I don’t have to believe what you believe to respect you and your right to have that belief. Awesome moment.”

Some things are bigger than sports. What a wonderful example these women set for the world. Kudos, indeed.

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Billie Eilish Says ‘The Most Fun’ She And Finneas Have Had Writing Music Was Working On ‘Turning Red’

Billie Eilish and Finneas, it would seem, are on a mission to get involved with as many iconic film institutions as possible: The pair penned a well-received James Bond theme for No Time To Die, and now they’ve worked on songs for Disney and Pixar’s latest movie, Turning Red.

Aside from 13-year-old Mei transforming into a giant red panda when her emotions get too intense, a core element of the movie seems to be a fictional boyband called 4*Town. That’s where Eilish and Finneas come in, as they wrote songs for the band and Finneas even voices one of the members. Now, in a couple of short videos from Pixar, Eilish and Finneas discuss their experience working on the movie.

This afternoon, Pixar shared a brief two-minute “featurette” titled “Panda Power,” in which Finneas and Eilish pop up for a few seconds to drop some quick quotes. Finneas says, “When we got approached about this project, we leapt at the opportunity.” Eilish added, “It’s literally been the most fun we’ve had writing.”

The movie is set in 2002 and 4*Town sounds very much like a boyband of the era (the asterisk in the band name is as obvious an *NSYNC reference as it gets). Eilish turned a year old at the end of 2002 and Finneas was five that year, so the two likely have fond childhood memories of the music of the era… even if Eilish’s are barely-formed baby memories.

Last week, Pixar shared a different “featurette” video focused just on 4*Town. Eilish and Finneas get more face-time in that one, with Finneas describing his and Eilish’s work on the movie as “songs in the style of [an] early ’00s boyband.” He continued, “It’s the really catchy melody and harmonies and claps and choreography. […] The main ingredient in these boybands is these young, hearthrob-y teens that kids fall in love with.”

Eilish also noted, “Mei and her friends’ passion for 4*Town, it really resonated with me just because I was the same. So accurate of how it feels when you’re that kind of fan. […] There’s this bond that you have people that feel the same. I just… I love the film.”

Elsewhere, director Domee Shi describes 4*Town as “the glue that holds these characters together.”

Watch the Turning Red “featurettes” above and below.

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Producer And Renowned DJ AMÉMÉ Shares His Detailed Guide To NYC’s Nightlife Scene

There’s a reason people from all around the world are drawn to New York City. The high-end fashion industry, bustling atmosphere, flashy broadway shows, a heaping of noteworthy tourist attractions, and of course, one of the best nightlife scenes in the nation. In other words: It full of cool people doing cool shit. Don’t ever be surprised if you find yourself walking home as the sun comes up on a Sunday morning in “The City.”

One of the newest additions to the NYC nightlife galaxy is Nebula, an event venue in the heart of midtown that brings massive electronic music talent to the city. With a slew of well-renowned performers in the venue’s lineup, Nebula’s goal is to revive the post-pandemic nightlife scene of the city through its musical programming, state-of-the-art technology, and top-notch hospitality.

The Nebula lineup includes New York-based producer and DJ AMÉMÉ, who will be making his debut appearance this Friday, March 11th (purchase tickets here). And since you’re clearly ready to hit the town and experience all that The Big Apple has to offer, we asked AMÉMÉ to share his guide to the best late-night spots in NYC.

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Gospel

Gospel is one of the few really good electronic scenes in Manhattan. I love going there because it has an intimate feel which I really appreciate, especially if I don’t want to party with one thousand people.

I recommend getting there early to avoid a line and definitely try one of their famous mocktails at the bar.

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Balzem

One of my favorite spots! It doesn’t matter if I’m hungry or not (although I love the food!). It’s so central to everything and I know I’ll always run into a friend. They have a really amazing wine selection, my go-to is the pinot noir and my favorite dish is the chicken skewers.

NYC Nightlife Guide
House of Yes

House of Yes

I’ve been playing here for years, so it has this local feeling to me which makes me feel at home. It’s all-race/gender-friendly and has amazing vibes. They also do weekly events and each one is different from the next.

Definitely get your tickets before you arrive to avoid the long line.

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A60 at Sixty Soho

The best city views from downtown. I love how small it is, it’s best to go get a cocktail and unwind. My personal preference: spicy mezcal margarita. As a plus, if you feel like staying past midnight, their lounge on the floor below, Butterfly Room, has a really nice party.

NYC Nightlife Guide
Mogador

Cafe Mogador

It’s comfort food to me. I grew up eating Moroccan food so to have that in New York is special. They have a diverse menu for meat lovers and vegetarians, but my favorite dish is by far the lamb tagine. Also, I really love finishing my meal with Moroccan mint tea.

Elsewhere

I like what this venue stands for because they do their own thing. They always have a unique lineup and seek after the music that they believe in. There are three different rooms, including a rooftop!

Nyc Nightlife Guide
19 Cleveland

19 Cleveland

I know all of the staff here and always feel so welcomed by them. They have amazing food and cocktails too! If you can figure out your way to the basement, there is usually a DJ playing down there with a very insider crew.

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Wythe Hotel

The Wythe Hotel

This place really represents Williamsburg to me. I love the architecture and that there are multiple places to hang out here. Whether it’s to go for lunch, work, or enjoy the rooftop views, the Wythe Hotel has it all.

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Amy Schumer Explains Why She Was The ‘Wrong Gal’ To Make A Live-Action ‘Barbie’ Movie

Many moons ago, in 2017, Amy Schumer was attached to the upcoming Barbie live-action movie, which she was slated to star in and write. She left the project due to “scheduling conflicts” that, at the time, were attributed to her 2018 romantic comedy I Feel Pretty. In a new interview with The Hollywood Reporter, the comedian opened up about what actually drove her to part ways with the studio.

Schumer explains that she didn’t like the direction that then-studio, Sony, was going in (the project later moved to Warner Bros). “They definitely didn’t want to do it the way I wanted to do it, the only way I was interested in doing it,” the Oscars host admitted. Schumer and her writing partner Kim Caramele wrote Barbie as an “ambitious inventor,” but the studio insisted that she “invent” a high heel made out of Jell-O, which seems a bit silly, even for a movie based on a plastic doll.

To top it all off, the company then sent her a pair of really expensive shoes to celebrate, which made Schumer feel iffy. “The idea that that’s just what every woman must want, right there, I should have gone, ‘You’ve got the wrong gal,’” she added. Schumer left the project shortly after, and Margot Robbie was cast.

Schumer left her UTA team after that. “I felt like I was disappointing my team by not being Barbie,” the actress admitted. Instead, she will play a very important role in the upcoming Oscars by being one of three hosts. That’s pretty monumental in its own right. She also stars in the upcoming Hulu series Life & Beth alongside Michael Cera, while the Barbie movie is still in production, after nearly five years. It seems like leaving the project behind didn’t hurt her career one bit!