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Jenna Fischer Is The Latest Notable Name To Join The Star-Studded ‘Mean Girls’ Movie Musical

The Mean Girls movie musical is gearing up to be the best movie musical since Mamma Mia 2! which was the best movie musical since Mamma Mia!, which was the first movie musical to ever exist. Even though the one common thread, Amanda Seyfried, might not be directly involved (yet!) the expectations for the cliquey movie are pretty high as the movie secures its cast.

The latest star joining the project is The Office’s Jenna Fischer, who will take on the role of Cady’s mother, which was originally played by Ana Gasteyer. As previously reported, Tina Fey will return as math teacher Ms. Norbury, while Tim Meadows will reprise his role as Mr. Duvall. Hopefully, his arm has healed since then. Fey is also confirmed to be writing the script for the movie, which will head to Paramount+.

Fischer has been co-hosting the popular podcast Office Ladies as of late, and this will be her first acting gig since her sitcom Splitting Up Together was canceled in 2019.

Even though movie musicals can be a big risk, the Mean Girls musical has developed a cult following thanks to its ever-growing TikTok fanbase. The rest of the cast includes Angourie Rice as Cady, Auli’i Cravalho as Janis, Jaquel Spivey, and Reneé Rapp, who previously starred as the queen bee Regina George in the Broadway adaptation.

While this is a movie based on the musical based on the movie based on the book, it seems like some crossover between the stage and screen adaptation is inevitable. Even though the original core cast has yet to confirm anything, Seyfried is already in musical mode, so maybe she can pop over for a quick dance number.

(Via Deadline)

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The 2023 Oscars Just Got A Lot More Fun Thanks To ‘RRR’

One of the easiest bets to win during the 2022 Oscars was who would win Best Original Song. There was “No Time to Die” by Billie Eilish and Finneas O’Connell, and there was everyone else (the wrong song from Encanto was selected). This year’s batch of nominees is trickier. Rihanna (“Lift Me Up” from Black Panther: Wakanda Forever) and Lady Gaga (“Hold My Hand” from Top Gun: Maverick) are the biggest names, but don’t overlook David Byrne and Mitski’s song from Everything Everywhere All at Once, “This Is a Life.”

The real wild card — and the song that should win, please — is “Naatu Naatu” from RRR. If you haven’t watched the record-breaking action movie, please do so immediately. It’s on Netflix and also being re-released in theaters (for a third time!) this weekend. “Naatu Naatu” is from the film’s most memorable scene — and one of the most memorable and joyous scenes for any movie released in 2022.

It will also be a highlight of the 2023 Oscars.

Oscar-nominated song “Naatu Naatu,” the Indian Telugu-language song from RRR, will be performed at the 2023 Oscars. “Naatu Naatu” is nominated for best original song, and Rahul Sipligunj and Kaala Bhairava will perform the song. The song’s music is written by M.M. Keeravaani, while its lyrics are written by Chandrabose.

There’s no mention of whether RRR stars N.T. Rama Rao Jr. and Ram Charan will be involved, but there better at least be dancing.

The 95th Academy Awards air on March 12.

(Via the Hollywood Reporter)

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Chlöe Will Share Pieces Of Her Heart With Different Cities On Her ‘In Pieces’ Tour

The era of Chlöe is officially upon us. Next month, she will release her much-anticipated debut solo album, In Pieces. Weeks after, she will embark on the In Pieces tour.

The In Pieces tour will see Chlöe take the stage in 11 North American cities, including Chicago, New York City, Dallas, and Los Angeles.

Fans can purchase tickets now (here) using the pre-sale code PRAY. General on-sale for the tour begins this Friday.

In addition to music, Chlöe has been throwing herself into more acting roles. Next month, she will star on Prime Video’s new thriller series, Swarm, which explores the dark side of fandom. Last year, she spoke with us about her upcoming role in a comedy film called Praise This.

“It’s been super exciting being able to throw myself into another role or character,” said Bailey. “Any unhealed pieces of me I get to heal through them. It’s like another way of storytelling, like how I do with music.”

You can see the list of the In Pieces tour dates below.

04/11 — Chicago, IL @ Riviera Theatre
04/13 — Detroit, MI @ The Fillmore
04/14 — Toronto, ON @ Rebel
04/17 — Boston, MA @ House of Blues
04/18 — Philadelphia, PA @ The Fillmore
04/20 — New York, NY @ Terminal 5
04/23 — Atlanta, GA @ The Eastern
04/25 — Houston, TX @ House of Blues
04/26 — Dallas, TX @ House of Blues
04/30 — Sacramento, CA @ Sol Blume
05/03 — Los Angeles, CA @ The Novo

In Pieces is out 3/31 via Parkwood/Columbia. Pre-save it here.

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Seth Meyers Was (Almost) At A Loss For Words Over Marjorie Taylor Greene’s Latest ‘National Divorce’ Nuttery

Marjorie Taylor Greene is just over two years into her job as a member of the House of Representatives, but has managed to stir up more controversy and grab more headlines than lawmakers with 10 times her longevity. From the “gazpacho police” to complaining that she’s forced to work too many hours for too little pay, Greene has done a lot of complaining during her 25 months as a Georgia congresswoman. But her recent call for a “national divorce” (on Presidents Day of all days) has left even some of her most prolific critics feeling gobsmacked. Case in point: Seth Meyers.

On Monday night, Meyers resumed his position behind the Late Night desk, and wanted to talk about Fox News’ ill-advised decision to let Marge go on the air and talk with Sean Hannity about the details for exactly how this whole “unhinged” divorce thing will work, which she seems to believe is the only way for our country to actually operate given the extreme divide between Republicans and everyone else. But even Hannity seemed doubtful that such a thing was possible, and asked Greene about its feasibility when he inquired, “Do you expect it will happen?” Which is when Greene’s argument started to fall apart.

“Well, I think it’s something we should work towards, because it’s kind of the vision that our Founding Fathers had for America,” Greene stated. Which, given that she was talking about the founding fathers of the UNITED States of America, didn’t seem to make much sense. And left Meyers momentarily perplexed:

A National Divorce? ‘A National Divorce was the VISION of the Founding Fathers. I know, because I time-traveled in a semi-conscious state and talked to them.’

How about this? This will be the compromise: Instead of Red States getting a divorce from Blue States, America gets a divorce from Greene? She’s definitely dressed for it. Remember when she showed up to the State of the Union screaming at Joe Biden in a white fur collar, like she was demanding sole custody of the Maltese?

You can watch the full clip above, beginning around the 11:05 mark.

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Yves Tumor Insists ‘Heaven Surrounds Us Like A Hood’ In Their Harrowing New ‘Praise A Lord Who Chews’ Video

Doja Cat might have pissed conservatives off with her sexy devil photoshoot, but no one does dark religious imagery like Yves Tumor. The eclectic indie rocker’s work has always centered on biblical references. Heaven, hell, demons, and angels can be found a home in their art (i.e., the videos for singles “God Is A Circle” and “Kerosene!“). Tumor’s latest video for the song “Heaven Surrounds Us Like a Hood” continues in that tradition.

The single featured on their forthcoming album, Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), spins that narrative that no matter how pure your intentions are, eventually, life will chew you up and spit you out.

Tumor opens the track with a harrowing story as they sing, “I met a boy with no head / I looked into his eyes / You know he was so pure at heart / For a moment we became each other / We found a love that made us slowly fall apart / I see the color red in so many places / This world feels so ugly / When life makes a fool of us.”

Throughout the video, director Cody Critcheloe masterfully incorporated Bible references to heighten the sorrow outlined in the song. The story is not lost on the viewing audience from Tumor’s rapid mood swings, bloodshot eyes, and crowned hair. However, the video’s ending scene stings the most. As the young actor playing Tumor says, “I like the color blue because it’s in the sky, and that’s where God is,” the theme of pure innocent is fully explored.

The actor’s declaration of their love apple while enjoying a ripe red apple as the scene transitions to Tumor seated on a rotating prop apple core sporting a blue wing. The contrast between the joy seen in the child actor’s eye with Tumor’s cold-hearted expression is jarring, which drives home the point that a stained outlook on the world is a product of life’s slowly but steadily taking bites out of us all.

Watch the full video above.

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Steve Buscemi Is A Hypnotist In Hayden’s Fun New ‘On A Beach’ Video That Also Features Matt Berninger

Hayden is officially returning with his first new album in eight years, following the announcement of April’s Are We Good — which features quite a few surprise guests.

The latest single, “On A Beach,” is a collaboration with Feist, who fits perfectly as a vocalist and also appears in the music video. Along the way, the duo meets some hypnotists, played by none other than Steve Buscemi and The National’s Matt Berninger.

Buscemi’s connection with Hayden goes back decades, as he also provided the music for the actor’s directorial debut, Trees Lounge, in 1996, according to Stereogum.

“‘On A Beach’ was my ‘day four’ submission,” Hayden shared to the publication about the song. “I continued tinkering with the song and recording in the following weeks, adding a bridge, tracking several synth lines to try to create what I thought hypnosis may sound like. A few weeks later, Leslie was in town and I invited her to sing on a newer verse I’d written to make the song more of a conversation. Who better than the best, and the one who basically made the song happen in the first place.”

Check out “On A Beach” above. Below, find the Are We Good cover art and tracklist.

hayden are we good cover
Arts & Crafts

1. “East Coast”
2. “We Danced”
3. “On A Beach” Feat. Feist
4. “Terry Cloth Blue (Every Single Thing)”
5. “Nothing Wrong”
6. “Are We Good”
7. “Window Washer Blues”
8. “Miss Fort Erie”
9. “It’s Just Me”
10. “Lay This In My Mind”
11. “Can’t Happen Now”

Are We Good is out 4/5 via Arts & Crafts. Pre-order it here.

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What You Should Know About The Student Loan Supreme Court Showdown

When President Biden authorized a sweeping 400 billion dollar Student Loan Forgiveness Program, mayhem erupted around the nation. Not only did millions of eligible recipients quickly apply for relief but swaths of (mostly Republican) lawmakers raced to halt the action. Those efforts proved successful. Since October, the program has been blocked by The 8th Circuit Court of Appeals, pending its day in the Court.

That day has arrived. On February 28th, a Courtroom Drama kicks off in which two cases will be jointly presented to the (mostly Conservative) Supreme Court Justices: Biden V. Nebraska & Dep. Of Education V. Brown (Not to be confused with Brown V. Board of Education). The fate of Biden’s (and perhaps all) student loan forgiveness initiatives, now rests on the Court’s interpretation of this program. If the stakes didn’t seem high enough, understand that the student loan repayment pauses, which have been in effect since the pandemic, have been pushed to one final deadline — 6o days after the Court’s verdict. Millions now wait in suspense to find out if they should celebrate or sell their computers to pay the coming bills. (Here, you can listen to the case live.)

PART I — BIDEN’S PROGRAM

Let’s recap what this is about. Biden’s Student Loan Relief Program aims to cancel $10,000 of Student Loan payments for those making less than $125,000 and double that for joint-filing households. Pell Grant Recipients of lower income brackets would be eligible for an additional $10,000 of relief.

After years of talk, how is this now happening? Simply put, The Biden administration deemed the economic devastation brought by the pandemic as justification to tie the program with the Higher Education Relief Opportunities for Students Act (HEROES Act). The 2003 law states that the government can provide relief to recipients of student loans when there is a “national emergency.”

But despite the Program’s many projected benefits, including relieving 20 million borrowers’ debts entirely, the program is seen by challengers as not just too expensive but unconstitutional and financially devastating.

PART II — WHO IS MAD ABOUT THIS?

The Biden Administration will face two cases, where the challengers will attempt to prove “Standing.” Article III Standing is the idea that a party has proven to a judge that they have been injured by another party and a court ruling would fix that injury. In Biden v. Nebraska, six republican states will argue that Biden’s program will destroy tax revenue and damage the state’s interests. The secret weapon on this front is Missouri. More specifically, MOHELA, The Higher Education Loan Authority of The State Of Missouri — which has grown into one of the largest owners of Student Debt in the country.

In Dep. of Education v. Brown, two student loan buyers, Myra Brown and Alexandra Taylor, will argue that they have been harmed by the program because their privately held student loans are not eligible for forgiveness. They will try to prove the Secretary of Education failed to follow proper procedures enacting this program, which made them lose an opportunity to obtain debt forgiveness and thus have standing to remedy these injuries.

PART III — WHAT IS THE STATE’S ARGUMENT?

While all six states argue their revenue streams will be affected, Missouri makes the strongest case. Missouri’s Lawyers argue that MOHELA is an arm of the state and thus, impending financial losses from discontinuing federal loan servicing would burden the state. They claim in their briefing, “The States have standing to challenge the Program. First, the Program will inflict substantial financial losses on MOHELA, and those losses injure Missouri. MOHELA is a state-created and state-controlled public entity that performs essential public functions for the State.”

Additionally, because many private loans (which States like Nebraska and Arkansas invest in) have started to become consolidated — “refinanced” by public loans — the states would lose revenue. Why? For some, Biden’s program would pay off student loan debt entirely. No more debt means no more interest payments, which ultimately means loss of profit and what the State’s lawyers classify as “an actual financial injury.”

PART IV — THE COUNTER-ARGUMENT

On the other end of the argument, defendants of the Relief plan advocate that none of the states can argue there is a clear causal link between loss of tax revenue and student loan forgiveness, stating “[the states] lack standing because their supposed threatened economic injuries are speculative and unsubstantiated.” Basically, they’re saying there are a lot of false assumptions being made about impending damages from this program.

Defendants also argue that MOHELA and Missouri are not as connected as led to believe, stating, “an injury to MOHELA does not confer an injury on the State of Missouri because MOHELA is independent from Missouri. The two entities are separate.” In a letter between MOHELA and Missouri Rep. Cori Bush, MOHELA admits “MOHELA has not had, and does not have, a contractual relationship or agreement with the Missouri Attorney General’s Office on any topic including as to student debt relief.”

It turns out the two have been acting quite separately in the wake of this program. In that same letter, it’s revealed that it was the state of Missouri, not MOHELA executives that pushed for the lawsuit, and according to the defendant’s briefing “Publicly available evidence shows that MOHELA has been cooperating with the U.S. Department of Education on its debt discharge plan, a position inconsistent with that of the State of Missouri.”

Skeptics point out that MOHELA has transformed into something far larger than anticipated in its original mandate. There are some who claim its become a “financial behemoth” owning one of every ten dollars of outstanding student loan debt.

PART V — BROWN & TAYLOR

Backed by the financing of Job’s Network, a conservative advocacy group, Brown and Taylor’s lawsuit seeks to prove that improper procedures were taken by the Secretary of Education in enacting this program and then caused financial harm. In the case of Taylor, challengers mention, ” [Taylor’s] level of debt forgiveness could easily increase if the Secretary based eligibility on a more relevant metric, such as current income. In fact, Taylor makes less than $25,000 a year, but individuals making exponentially more than that ($250,000 for joint filers or $125,000 for individuals) will receive $20,000 in debt forgiveness if they received a Pell Grant.” Brown is apparently also being unfairly denied $17,000 of debt forgiveness, however, she came under scrutiny when it was found out her sign-making company received a $48,000 loan from the Paycheck Protection Program, of which $47,996 was forgiven.

Regardless, the two are arguing debt forgiveness is being handed out by an unfair, unclear system, brought forth unjustly — the one final point of attack the challengers are using.

PART V — A MAJOR QUESTION

Another topic that will be debated is whether or not the implementation of the HEROES Act is appropriate in justifying Biden’s program. The HEROES Act was birthed in the wake of 9/11 to protect individuals from being put in a “worse position” financially by providing relief to recipients of student loans in response to a national emergency.

Challengers argue that this is inappropriate because:

  1. “Keeping borrowers from a “worse position” does not permit the mass discharge of loans, because that puts those borrowers in a better position.” In addition, “the Secretary’s unpublished, self-reported data show that most borrowers do not “expect to experience difficulty repaying loans.”
  2. While Biden’s program outlines the negative economic conditions brought by the Pandemic as justification for a National Emergency, there are many other factors that have caused current economic hardships such as the war in Ukraine.
  3. Biden’s debt forgiveness program was more of a pre-textual “campaign promise” than a connection to a National Emergency.
  4. The program overstretched its authority because it circumvented congressional approval and disregarded the Major Question Doctrine.

The Major Question Doctrine is the idea that federal agencies (in this case, The Secretary of Education) cannot initiate sweeping new policies that have a significant economic impact without authorization from Congress. Because half a trillion dollars is indeed significant, challengers believe Biden and The Secretary of Education are far out of their expertise to go forward with this without the okay from Congress.

THE BOTTOM LINE:

Despite the points laid out in reference to the Major Question Doctrine, The Biden Administration’s most important point of defense for the program will be in the case of “standing.” In an NBC article published on Feb. 27th, Ilya Somin, a law professor, mentioned “it seems as if the government has put most of its eggs in the standing basket.”

Regardless of the strong technical cases being made against standing, the concept of Student Loan Forgiveness has for years been a very ideologically divisive topic. For this reason, one can expect the Conservative Court to make an effort to disprove the constitutionality of Biden’s program and attempt to derail it. Who knows what will happen, but one thing’s for certain: The ramifications of this case will affect millions of Americans for years to come.

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Michael B. Jordan Apologized To His Mom Before His Sexy Calvin Klein Underwear Photos Dropped

Before his new Calvin Klein underwear ad broke the internet, Michael B. Jordan knew he needed to give one important person a heads up: His mom. While walking the red carpet for Creed III, the actor/director revealed that he apologized to his mother once he knew the sexy pics were about to drop.

“I was like, my mama gon’ have to see this. Let me call her and be like, ‘I’m sorry. It’s out here,’” Jordan told ET Canada. “My business all out in the streets — literally.”

Embarrassing chats with mom aside, Jordan is actually proud of his first time modeling for Calvin Klein and loves how it made his directorial debut for Creed III feel even bigger:

“This was like, a moment, you know? Just to have everything come together at one time, it feels great,” he gushed. “And to be able to share that moment with my other actors, who are having a moment of their own as well, it just feels special. It feels like everything is happening at the right time.”

You can see Jordan’s Calvin Klein ad below:

Speaking of moments, the actor also got to have a little comeuppance during the Creed III premiere. Jordan was interviewed by The Morning Hustle‘s Lore’l, who used to be one of the kids that teased him in high school because of his name and his penchant for carrying around headshots.

“I was the corny kid, right?” Jordan said to a surprised Lore’l, who didn’t expect the actor to know about her confession on a recent podcast. Fortunately, Jordan was all class. “I heard it. I heard it. It’s all good.”

(Via ET Canada)

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Key Glock Takes His First Steps Out Of His Mentor’s Shadow On The Assured ‘Glockoma 2’

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Glockoma 2 is Key Glock’s first full-length album since the passing of Young Dolph. As such, it would seem that there’d be a lot of fanfare around its release, some pomp and circumstance worthy of Dolph’s standing in the Memphis rap scene and Glock’s proximity to him as his protege and frequent collaborator.

But that’d run counter to both rappers’ modus operandi, the way they eschewed big-name guests and moved in modes consistent with the gritty street narratives they unraveled in their music. Key Glock is not a flashy guy, although he does sport the usual array of chunky, diamond-encrusted necklaces common to his profession.

Instead, what we get on Glockoma 2 is a microcosm of the Paper Route Empire ethos of consistency and authenticity, with little window dressing or build-up. The album was released quietly over the weekend after only a pair of straightforward singles (“Dirt” and “Work” both of which are frontloaded here) and a tour announcement. The music included is similarly unfussy, with no featured artists and a familiar lineup of producers including BandPlay, Hitkidd, and Sledgren.

What makes it stand out among a slew of similarly-themed projects is Glock’s intense focus on improvement. He’s always been cleverer rhyme-smith than he’s perhaps been given credit for, but here, he elevates his craft impressively, stunning with subtly witty one-liners and plainspoken but deft boasts (“I just pulled up with my chopper like the Undertaker,” he barks on “2 For 1”).

Of course, the spirit of Dolph hovers over the proceedings. While Glock dodges obvious references to the tragedy that knocked his world off its axis, his mentor’s influence is clear in both his improved delivery and in overt lyrical references. On “Ratchet,” he nods to the Dolph-shaped void, “I took a couple losses, that shit there made me a winner / Boss shit, baby, yeah, I do this for Flippa.”

There isn’t much variation on these themes in Glock’s lyrics, but he keeps the content sounding fresh with a versatile selection of beats. They demand enough course correction to keep him in a variety of pockets, which helps distinguish each song and prevent his voice – the only one on the album thanks to his “F**k A Feature” mentality – from becoming monotonous. From the sauntering horns on “Randy Orton” to the Gothic trap bounce of “Money Over Hoes,” there’s enough variation in sounds to prove Glock’s adaptability.

If there’s anything missing here, it’s a more in-depth excavation of the principal’s emotional state of mind. He took a full year off after consistently releasing at least an album a year since 2016 as a result of the emotional hit he took with Dolph’s death. While maintaining his unfazed persona is likely good business – it’s what’s worked for him so far – it’d be nice to see him drop kayfabe at least here to address a traumatic experience without framing it as a temporary setback.

He similarly put off this reckoning on his late 2022 EP PRE5L, which seemed less pressing because of that project’s positioning as a warm-up of sorts for his grander return. Now that he’s made that return, it’s comforting to see him getting back on track, but a little disheartening to know that he still feels like he can’t address how he’s really been feeling. Perhaps on his next project, he’ll be more comfortable emoting a little.

However, for now, a return to form is enough – or, at least, it’ll have to be. Glock is back to big stepping, and for the first time, doing so without the support of his respected mentor. It’s nice to see him finding his footing. Dolph’s shoes likely can’t and won’t be filled – maybe they shouldn’t be. But Key Glock is walking his own path now, as assuredly as he’s able… and perhaps it’ll lead him to even greater success down the road.

Glockoma 2 is out now via Paper Route Empire.

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‘The Super Mario Bros. Movie’ Has Warped To An Even Sooner Release Date

Mushroom Kingdom, here we come… two days earlier than expected.

The Super Mario Bros. Movie was originally scheduled to come out on April 7th, but Nintendo, Universal, and Illumination revealed today that the world will now fall in love with Keegan-Michael Key’s Toad on April 5th. “Wahoo! The #SuperMarioMovie is moving from April 7 to April 5 in the US and in more than 60 markets around the world. The movie hits theaters in additional markets in April and May, with Japan opening April 28,” the film’s Twitter account wrote.

No reason was given for the new release date; the only other films coming out that weekend are indies, like A24’s Showing Up, Owen Wilson as not-Bob Ross in Paint, and the much-acclaimed Joyland. But it must mean Nintendo has faith in the movie. Certainly more than the first Mario movie, which resulted in star Bob Hoskins mournfully recalling that he used to play King Lear.

The Super Mario Bros. Movie features the voices of Chris Pratt as Mario, Charlie Day as Luigi, Anya Taylor-Joy as Peach, Jack Black as Bowser, Seth Rogen as Donkey Kong, Keegan-Michael Key as Toad, Fred Armisen as Cranky Kong, Kevin Michael Richardson as Kamek, and Charles Martinet in a mystery role.