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Matthew McConaughey And Woody Harrelson Are Reuniting For A New Comedy Series To Celebrate Their ‘Strange And Beautiful Bond’

The gang is getting back together! And in this case, “gang” is referring to Texas darlings Matthew McConaughey and Woody Harrelson. The duo first starred alongside each other in HBO’s True Detective and will team up for a new series for AppleTV+ with a slightly different tone. Alright Alright Alright!

Schitt’s Creek alum David West Read is developing a currently-untitled series that will follow the two long-time friends as they try to cohabitate on McConaughey’s Texas ranch. While this isn’t the Yellowstone spinoff we were promised...it certainly sounds appealing. If anything, your dad will love it.

According to The Hollywood Reporter, The 10-episode series is expected to be a “heartfelt odd couple love story revolving around the strange and beautiful bond between Matthew McConaughey and Woody Harrelson. Matthew and Woody’s friendship is tested when their combined families attempt to live together on Matthew’s ranch in Texas.” As we all learned from 2020, it can be very hard to successfully live with people you supposedly like!

The series will be produced by the duo alongside David Ellison, Dana Goldberg and Matt Thunell of Skydance, Bill Bost, and Jeremy Plager. We can thank Yellowstone for the uptick in ranch popularity, though a McConaughey and Harrelson comedy will probably feature less drama. But that doesn’t mean it won’t be weird.

(Via Hollywood Reporter)

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All The Best New Indie Music From This Week

Indie music has grown to include so much. It’s not just music that is released on independent labels but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week we got new music from Tame Impala, Indigo De Souza, Manchester Orchestra, Angel Olsen, and more.

While we’re at it, sign up for our newsletter to get the best new indie music delivered directly to your inbox, every Monday.

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Manchester Orchestra — The Valley Of Vision

Following enticing singles “Capital Karma” and “The Way,” Manchester Orchestra have unleashed the seismic project The Valley Of Vision, an album with a VR short film. Even without the visual accompaniment, the songs themselves breathe life like movie scenes. The tracks bleed into each other organically and dynamically, moving the listener through their sonic world with ease.

Joanna Sternberg — “I’ve Got Me”

Joanna Sternberg’s new single “I’ve Got Me” comes with the exciting announcement of an album of the same title. Self-reflection makes the song glow with inimitable insight: “And all my faults and flaws and lies / Are no one’s fault but mine / Between self-hatred and self-awareness / Is a very small, thin line.” Inspired by a Bukowski poem, “I’ve Got Me” is a thoughtful treat that previews a powerful LP.

Ratboys — “Black Earth, WI”

At eight and a half minutes, it could be easy for “Black Earth, WI” by Ratboys to lose the listener’s attention. However, the ruminative, enchanting track glimmers throughout with breezy guitars and hypnotic vocals painting a vivid story: “Oh, I was hypnotized / Caught up in the northern lights / Driving around in circles,” Julia Steiner sings.

Bartees Strange — “Daily News”

Bartees Strange’s songs always have a magnetic force to them that pulls the listener into an immersive place. “Daily News” does this exceptionally well as sweeping, twinkly guitars conjure an emotional whirlwind that his earnest vocals only amplify. The build-up is as powerful as you’d expect, bringing the song into an unforgettable catharsis.

Indigo De Souza — “Smog”

Indigo De Souza’s “Younger & Dumber” was a memorable first preview into her forthcoming album All Of This Will End. It moved delicately yet with an undeniable sharpness. “Smog” shows the singer playing with a dancey, upbeat atmosphere as the backdrop to her painfully relatable confessions: “I eat too much when I’m lonely / I bury everything / I wanna face it head on / But it’s so easy to turn it away,” she sings. Even in this more lighthearted setting, her lyricism hits just as hard.

Angel Olsen — “Nothing’s Free”

The aptly-titled Big Time was a special album for Angel Olsen. The singer’s twangy, visceral record confronted colossal emotions against stunning sonic landscapes. It turns out a lot was cut from that LP, so an EP called Forever Means is arriving next month, and “Nothing’s Free” is a beautiful peek into it. Right off the bat, the vulnerability is palpable and impactful: “Here it comes feel it break that old cell / The one you thought had kept you safe / But nothing’s free,” she sings achingly.

Hot Mulligan — “Shhhh! Golf Is On”

Hot Mulligan never miss. The Lansing, Michigan-based group always have invigorating pop-punk anthems with unpredictably funny titles to make up for the inconceivably depressing lyricism. “Shhhh! Golf Is On” is catapulted forward with sharp riffs and Nathan Sanville’s angsty vocals: “Can’t stand the fact I know where you are / Ten years, I still try to spot your car / When driving past your house / The taste of iron in my mouth.”

Tame Impala — “Wings Of Time”

For the upcoming movie, Dungeons & Dragons: Honor Among Thieves, Tame Impala shared the new song “Wings Of Time.” In typical Kevin Parker fashion, the track is dreamy and hallucinatory. His vocals glow as he sings poetic lines: “Do you see the wings of time? / Do you feel a sense of pride now?”

Unknown Mortal Orchestra — “Meshuggah”

We’re only a few days away from the release of V, the double album from Unknown Mortal Orchestra. “Meshuggah” is a compelling taste, warbling forward with distorted vocals and a warped, dizzy ambiance. The idiosyncratic sound pulls the listener into a new world; V is sure to be a rollercoaster.

The Hold Steady — “Understudies”

In January, The Hold Steady announced their forthcoming album The Price Of Progress with an unveiled the fiery lead single “Sideways Skull.” It’s only a couple of weeks before the release of that highly anticipated album, and they’ve unveiled “Understudies,” a more cinematic cut that shows off their storytelling: “This is showbiz / Hit the spotlight / If you really want to dance then put your shoes on,” Craig Finn narrates, telling a tale of artifice and dissatisfaction.

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Drew Barrymore and Dylan Mulvaney share powerful moment on what they’ve learned from their critics

Drew Barrymore has been part of our public lives for more than 40 years. And while she has millions of fans, you’re bound to pick up some critics along the way.

These days, it’s easy to dismiss any sort of criticism as out of bounds, be it sexism, racism, homophobia, transphobia and so on.

Which is why it’s easy to understand why one might assume that’s where Barrymore was going in her interview with trans influencer and activist Dylan Mulvaney.

Instead, the pair shared a powerful exchange, even kneeling on the floor where Barrymore felt the intimacy of their moment would be “safer.” They broke down what they’ve learned from their critics and how they’ve learned to move beyond other kinds of criticism that are only designed to cause harm.


Mulvaney sat down with Barrymore to discuss the inspiration behind her “365 Days of Girlhood” series, where Mulvaney posts daily social media videos documenting her transition.

Mulvaney acknowledged that she did receive some feedback from fellow trans celebrity Laverne Cox about how Mulvaney was handling her public transition. “She said to keep something private for myself,” Mulvaney said. “And I couldn’t agree more in the way that there were a few moments this year where I was like, ‘Was I actually ready to say that?’ But now, since meeting her, and having that moment, I go, ‘Okay, what would Laverne do?’ and I have actually stopped myself from making a few videos to make sure I was actually ready to talk about those things.”

Mulvaney then went on to explain that even when keeping some things private, she also tries to consider what her growing audience of fans gains from her videos.

“I think about if I was following myself on TikTok as a young kid, what would I want to hear?” Mulvaney told Barrymore, adding that the amount of support she has received was a complete surprise.

“I figured when I came out that I might have to go into hiding and then do all my surgeries privately and change my name and instead decided, hey, let me see if the world is willing to accept me this way from day one, and they did,” she said.

When asked how she dealt with negative comments online towards herself and the trans community, Mulvaney shared, “I think the greatest weapon that I can contribute is trans joy…I’m not somebody that is trying to do anything but be myself and be happy.”

Towards the end of the segment, Barrymore got on her knees to get closer to Mulvaney while explaining her own approach to handling criticism, comparing film reviews to today’s social media (“You are pretty much guaranteed a 50-50, some like it, some don’t.”) and going so far as to say her worst critic is still often herself.

The two sat on the floor together and shared a hug just before going to a commercial break.

“Thank you for joining me on the floor. The floor always feels safer,” Barrymore said.

While some people took issue with the exchange, in particular finding offense at Barrymore “kneeling” before Mulvaney (a quickly debunked claim), the exchange was in reality a positive, unifying example of how we can learn from some criticism while understanding when it’s better to simply let the outside voices go.

And it’s not like it’s the first time Barrymore has used her show to go deeper.

As one person was quick to point out, this is not the first time Barrymore has demonstrated this gesture and even provided pictures to prove it.

Actress Laura J Silverman, who claimed to work with Barrymore, attested that this kind of behavior was simply her MO.

“I worked with Drew Barrymore once and she really is that person—lovely, kind, generous, genuine; open hearted, interested, fun. Full of life. A lot of people would do well to emulate that.”

Others were quick to defend Barrymore’s actions, saying it spoke more to her humanity than anything else.

“Drew Barrymore is a sweet, honest, kind, human being who puts empathy, compassion, and the comfort of others first,” one person wrote.

“It’s beautiful when your childhood icons are actually decent people who care about Queer people,” another added.

You can watch the full video below.

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Please Watch The Trailer For This Insane German Horror Movie Set Inside A Portable Toilet

Maybe you are a fan of the long-running movie series Saw, but every time you watch any of the (very many, often boring) sequels, you think to yourself, “Huh, what if the stakes were a little bit higher? And also, what if they were German?” This is probably what the director of Holy Sh*t! thought when they came up with the idea for a bathroom-related escape room type of movie. Also, there is a cute little bunny in the mix. Happy Spring!

Holy Sh*t! brings the scariest place to life: a porta-potty in the middle of a construction site. Nothing good happens in those. That’s where Frank wakes up, trapped and alone with nothing but his thoughts and poop. A classic predicament. Our guy frantically finds a way to exit said potty before the detonation begins. Here is the somehow official synopsis:

Architect Frank (Thomas Niehaus) regains consciousness in a locked portable toilet on a construction site where a detonation is being prepared. As he desperately tries to find ways of escaping this prison before potentially being blown to smithereens, he realizes who has put him into this predicament: none other than the corrupt and lecherous mayor Horst (Gedeon Burkhard) who also has designs on Frank‘s pregnant girlfriend Marie (Olga von Luckwald). Now Frank has to do everything in his power to get out alive, save his Marie and expose Horst‘s delusional crimes.

Does this movie sound a little bit like a Jackass sketch gone wrong? Sure. Will there be a lot of poop jokes? You bet! But hey, they tried something new, and that’s better than most movies right now.

Holy Sh*t! will debut on SCREAMBOX, the streamer from Bloody Disgusting, on March 21st. Coincidentally, this man does scream in a box quite a few times in this trailer, which you can watch above. It sure does give a new meaning to potty training, am I right?!?!?!

(Via Bloody Disgusting)

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Freddie Prinze Jr. Almost Quit Acting Because The Director Of ‘I Know What You Did Last Summer’ Hated His Guts

Freddie Prinze Jr. has opened up about his experience making the 1997 slasher film, I Know What You Did Last Summer, which he fully credits for launching his career and introducing him to his now-wife Sarah Michelle Gellar. Prinze is forever grateful for the film, but he also vividly remembers almost quitting Hollywood thanks to his experience with director Jim Gillespie.

According to Prinze, Gillespie was dead-set on casting Jeremy Sisto, but was ultimately overruled by the studio and writer Kevin Williamson. That did not bode well for Prinze.

“I’ll give the man this, I think his name is Jim, he made no bones about it. There was no passive aggressiveness — which I hate — he was very direct in the fact that, ‘I don’t want you in this movie,’” Prinze told TooFab. “So when that’s your first job and you hear those words, it just wrecks you, man. It just wrecks you.”

The situation continued to deteriorate during filming as Gillespie would make it a point to either single out Prinze or exclude him altogether while giving notes on scenes. Without co-stars Ryan Phillippe and Gellar offering him support, Prinze said he almost quit the picture. Via TooFab:

“So, when I did have those moments where the director was giving me psychotic notes, like ‘Don’t leave your mouth open. You look stupid when you do that’ — that was the exact note, word for word, I’ll never forget it — and I’m like, I’m either gonna break down or I have to beat this guy’s ass. Like those were the only two options in my head,” he continued. “I remember Ryan came up to me and was like, ‘Screw that guy, man. How many times did you audition for this movie?’ and I go, ‘Five times,’ he goes, ‘Yeah, you earned it. You didn’t get offered the role, you earned it.”

At the end of the day, Prinze is not angry about the film at all, and again, he credits it for helping him land other roles and for his marriage. He’s also thankful for Gillespie because every other director was a cakewalk after him.

“I’m forever grateful for Jim for being such an asshole because I’ve never met one like that since,” Prinze said. “I’ve been prepared for every lesser A-hole in the business.”

(Via TooFab)

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‘The Simpsons’ Is Bringing Back A Season 1 Character In A Season 34 (!) Episode

Jacques, the womanizing bowling instructor who taught Marge that brunch comes with a slice of cantaloupe at the end, is returning to The Simpsons over 30 seasons after his first appearance.

On Monday, showrunner Al Jean shared a still from Sunday’s episode, season 34’s “Pin Gal,” and teased, “Don’t nap on new episode Sunday. Pin Gal with the return of Jacques!” He also confirmed that the bowling alley Casanova from “Life on the Fast Lane” will be voiced once again by Albert Brooks.

As noted by the great On This Day in Simpsons History Twitter account, “It looks like this Sunday – for the first time in the show’s history – @AlbertBrooks is reprising one of his Simpsons characters: Jacques. For those keeping score, Brooks has guest-starred as a different character in 9 different episodes as well as the movie.” Hank Scorpio: only one episode (the all-timer, “You Only Move Twice,” which inspired a debate among Simpsons fans). Brad Goodman: only one episode. Russ Cargill: only one movie.

As for Jacques, he’s technically appeared in hundreds of episodes in the opening credits (and the mob scene in The Simpsons Movie), but “Life on the Fast Lane” was only his speaking role. Until “Pin Gal.” The Simpsons should bring Nelson’s goons next.

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Karen Elson Channeled Will Smith In Responding To The Journalist Who Dissed Meg White: ‘Keep My Ex-Husband’s Ex-Wife’s Name Out Of Your F*ckin Mouth’

A new, somewhat unexpected voice has jumped into the debate over Meg White’s drumming skills after a reporter derided her contributions to The White Stripes‘ sound. Karen Elson, the English singer-songwriter who shares two children with Meg’s ex-bandmate (and ex-husband) Jack White, chimed in to defend her fellow musician, evoking the now-infamous words uttered by Will Smith when he stood up for Jada Pinkett Smith at last year’s controversial Oscars ceremony — albeit, very politely, as befits a native of the UK.

“Not only is Meg White a fantastic drummer, Jack also said the White Stripes would be nothing without her,” Elson wrote on Twitter, as a response one fan’s tweet praising Meg. “To the journalist who dissed her, keep my ex husband’s ex wife name out of your f*cking mouth. (Please and Thank You)”

Meg, whose simple backline work often anchored Jack’s… let’s just say “aggressive” guitaring, also received support from fellow drummer Questlove of The Roots, who made it a point to counter the original tweet’s accusation of “sh*tty percussion” with his own expert opinion. “Actually what is wrong w music is people choking the life out of music like an Instagram filter—trying to reach a high of music perfection that doesn’t even serve the song (or music),” he wrote. This is why I walk that Dilla path and play like a drunken sloppy af amateur because them flaws is the human element in music that is missing. Real film >>>>>>> IG filter photo.”

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Damian Lillard Thinks The ‘Entitlement’ Of Young Players Is A Problem For The NBA

Damian Lillard is in his 11th season in the NBA, all of which have been spent in Portland after being the sixth pick in the 2012 NBA Draft. As happens to all players who are in the league for a decade-plus, they start to see the ways things change, for better and worse.

On this week’s episode of The Old Man and the Three podcast, Lillard explained to JJ Redick what he sees as the biggest negative change in the NBA since he entered, and how it’s posing a genuine problem for the NBA going forward.

“When I came in the league, like Jason Kidd was starting for the Knicks and Grant Hill and Kurt Thomas and Kenyon Martin…it was real older dudes in the league,” Lillard said. “I played with Jared Jeffries, he was 40, 41 or something. Earl Watson was 40 when I played with him. I played with real vets, and it was a lot of stuff I learned, like being a point guard or how to lead from Mo Williams and Earl Watson and Jared Jeffries. And they didn’t even play, it was just the way they showed me how stuff had to be done, I had no choice but to respect the game. I didn’t have – the word I was looking for is entitlement. Like, when I came in the league, you had to earn not just what you get from the team or the respect – you had to earn your space on the team.

“It was no “Oh you the sixth pick in the Draft, it’s your team.” What is this your team stuff? I think now the difference is you don’t have that veteran presence. So you got players who are more talented than ever coming into the league, they’re getting picked 1, 2, 3, 4, 5, they’re making more money than those picks ever made, so not only that, now you givin them the keys to the franchise. There’s nobody there to tell them, you’re super-talented, but you’ve gotta earn stuff around here. You gotta earn your way. They come in and everything is given to them from the beginning. So that effects how they are, the way they play. They play for themselves, they play for stats. They think they’re LeBron James when they make an All-Star Game or get a max contract. It’s just different. I don’t know how to completely put it together, but the NBA I play in now is not the NBA I came into.”

There are a few interesting points raised by Lillard here and some hold up better than others. The one I’ll agree the most with is that the lack of veterans on the rosters of rebuilding teams poses a genuine problem to the development of their young hopeful stars. The Rockets stand out as the most obvious example of a team simply lacking veteran guidance who seem to be building just as many bad habits as they have positive skill development. On those teams, there is certainly something to Lillard’s point of teams being too quick to hand the keys to young players with little guidance from the locker room.

At the same time, Lillard is a particularly interesting messenger for this critique, given he played 38.9 minutes per game as a rookie and was second on the Blazers in shot attempts per game to LaMarcus Aldridge — with the tensions between Portland’s handling of their young star versus their established star becoming a storyline as Aldridge eventually left the Blazers for San Antonio. I’m sure internally, there wasn’t the expectation for Lillard to be the leader in the locker room in the way some young stars are asked to take on that mantle immediately and unfairly, but he was handed a large role immediately and while the keys to the Blazers franchise may not have been his alone, he certainly had a copy at the least.

Still, the overall point stands that we have gotten to a point where older role players tend to have a difficult time sticking around for a variety of reasons, but not the least of which is cost. Most teams would rather pay end of the bench guys less, and someone with 10-plus years of service time in the NBA has a higher minimum contract than those early in their careers. They can sell that as hope those guys develop into a rotation piece, but the cost piece is at the forefront, as it allows them to spend more on stars and rotation players without risking as hefty a tax penalty. The value of those veterans isn’t something that appears on the stat sheet, and as such it’s very difficult to quantify their value.

Lillard lays out how even those that don’t play on the court still can play an integral role in developing your young talent into NBA players who understand how to be a professional on and off the court. That value is an intangible, though, and the appreciation for those things has unquestionably become devalued in this current era of the NBA. The evidence backs up his complaint, as the oldest players in the league now tend to be star-caliber players who are either still playing at that level or are on their way out. Udonis Haslem and Andre Iguodala are rare exceptions to that rule, and it comes as little surprise that they play for two teams who value culture more than just about any others.

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Yo La Tengo Seemingly Protested Anti-Drag Laws In A Unique Way During Their Nashville Tour Stop

Indie rockers Yo La Tengo were onto something when they named their latest album, This Stupid World. The “For You Too” musicians aren’t afraid to remind lawmakers and politicians every chance they get, with their current North American tour being the outlet. Yesterday (March 13), while performing in Nashville, the band seemingly used their set to silently protest the state’s recent anti-drag legislation.

The laws in question are Senate Bill 3 and House Bill 9. Both of which ban all drag performances from taking place on any public property in the state. Later this month, musical acts like Hayley Williams, Jason Isbell, Maren Morris, and more will take part in a benefit concert to raise money for LGBTQIA+ organizations in the state.

However, considering their lengthy tour schedule, Yo La Tengo appear to be showing their support for drag performers in another way. Following an intermission, band members Ira Kaplan and James McNew returned to the stage in a noticeable wardrobe change. Kaplan changed into a sleeveless red dress sporting a long black wig to match. McNew, on the other hand, added a shawl and a sun hat to his existing outfit. Although they didn’t specifically address the ban, concertgoers to took to Twitter to applaud their actions as they shared images of the band onstage.

Unlike the other band members, drummer Georgia Hubley didn’t make changes to their outfit, a detail also noticed by fans.

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‘Yellowjackets’ Star Melanie Lynskey Is Justifiably Fed Up With Hollywood Casting Her As ‘The Fat Friend’

Even though Melanie Lynskey has had a prolific career filled with award-winning movies and iconic guest-starring roles, she is still a woman in Hollywood, which means that people are always going to be mean by default. Things are going great.

The Yellowjackets star recently opened up to The New York Times about being type-cast as the “fat friend” over the years. Despite being a celebrated actress with multiple awards and nominations under her belt, she is still given roles based on her looks, and she is (rightfully) sick of it.

Lynskey explained that she was always expected to play “the fat friend or the jokey kind of fat person” over the years after various roles in both movies and shows. She even recalls one specific character that stuck out to her, “There was one thing I read where the person had a candy bar in every scene. It was kind of a strange disconnect. I felt like I was pretending when I was going in and auditioning to play these dowdy people.” Instead of being involved in projects because of her A+ acting, she was only being put into roles based on her body.

The actress gained attention last month when she called out online trolls who were mad about her appearance in The Last of Us. Lynskey says that she hopes the conversation shifts to talking about characters instead of their bodies. “I very much want to be onscreen representing an interesting person who’s not paying attention to what her tummy looks like,” she said, adding that her calling attention to it is a part of the problem. “If there were more people who look like me, then I wouldn’t have to talk about it as much.”

Even though she is subjected to unnecessary hate, Lynksey is absolutely crushing it this year after appearing in The Last Of Us and gearing up for Yellowjackets season two premiere at the end of the month. Meanwhile, her haters are out there deactivating their Twitter accounts, so who is really winning here? Hint: it’s the one on TV winning awards.

(Via AV Club)