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Lizzo just made her cameo in the Disney+ series The Mandalorian. She played the role of the Dutchess Of Plazir-15, who is the wife of Jack Black’s character, Captain Bombardier. Black shared a selfie with Lizzo and wrote that he had “so much fun” working with her. Now, the “About Damn Time” singer shared her own post.

Alongside a photo burst featuring a selfie of her in costume, as well as another silly selfie with Black and other pictures, she wrote about how she cried after being offered the role. The caption reads:

“When I was a young girl my dad introduced me to Star Wars like a rite of passage. The trilogy’s are his favorite movies and quickly became mine. When Jon favreau called me and offered the role of The Dutchess I cried all day wishing my dad was still with us cus he’d be so proud. Star Wars was a dream I never thought was possible— but thanks to Jon, Bryce, and everyone in the galaxy I am now part of the ever-expanding saga of the stars. I am in honorable company and forever grateful. This is The Way…. and May the Force be with you.”

Find Lizzo’s post below.

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

John Leguizamo is not backing down on his beef with The Super Mario Bros. Movie. The actor, who played Luigi in the original 1993 Super Mario Bros film alongside Bob Hoskin’s Mario, has been vocal about the new movie going “backwards” in terms of representation. Leguizamo’s casting was a huge deal in the early ’90s, and to him, the new film erased all that progress by casting Charlie Day as Luigi.

With The Super Mario Bros. Movie now in theaters, TMZ caught up with Leguizamo on the streets and asked him if he’s going to at least check out the new film. He did not mince words. Via Variety:

“No I will not [be watching]. They could’ve included a Latin character,” Leguizamo said. “Like I was groundbreaking and then they stopped the groundbreaking. They messed up the inclusion. They dis-included. Just cast some Latin folk! We’re 20% of the population. The largest people of color group and we are underrepresented.”

When asked again by TMZ if he would be watching the movie, Leguizamo answered: “Hell no!”

Thanks to his recent stint on The Daily Show, Leguizamo has been a hot streak calling things like they see him. However, he might not want to catch wind of what Seth Rogen recently said about the original Super Mario Bros film because it was pretty brutal as well.

“It’s one of the worst films ever made,” Rogen told Variety while recalling seeing it in theaters at 11-years-old. “I was so disappointed. I think it made me realize that movies, like, could be bad. That never occurred to me until that moment.”

The Super Mario Bros. Movie is now playing in theaters.

(Via Variety)

Every so often, a new artist breaks through the noise of mainstream rap by the sheer undeniable strength of their persona. Sexxy Red is one of those rappers. Stepping into a tradition of unapologetically raunchy rappers like Trina, Jacki-O, City Girls, and Sukihana, Sexxy Red’s videos for “Born By The River” featuring Sukihana and “Pound Town” have become viral favorites due to their over-the-top sexuality and bizarrely relatable down-to-earth nature.

The St. Louis rapper is the definition of a round-the-way girl; her videos are shot at gas stations and on Ocean Drive at South Beach. Like GloRilla and Ice Spice before her, Sexxy Red fills her videos with her friends, presents as almost aggressively regular, and flouts the conventions of big-budget productions. Whereas the rappers of the past embraced a “fake-it-til-you-make-it” ethos, piling on the polish, Sexxy Red just puts on the PSD Hooters set and twerks with her friends in a parking lot. It’s a lot of fun, even if it will probably make your mom cover your eyes in horror.

While this might not seem like a recipe for success — her radio-unfriendly rhymes include tongue-in-cheek lines about the color of one of her orifices — she’s certainly captured Rap Twitter’s attention. Hip-hop heads have been debating her music and image just about every other day, with “Pound Town” trending at various points in the past month, thanks in large part to fellow facial tattoo enthusiast Summer Walker covering the song on her own social media. Other peers like GloRilla have also expressed their appreciation for the song, so it’s probably only a matter of time before it’s a new “song of the summer” — just like Glo’s own “Let’s Go (FNF).” It’s already climbing the charts and the Hot 100 isn’t out of reach.

If Sexxy Red seems like too much, just you wait… if her momentum keeps up, she could end up building an insatiable fanbase for whom her current success is just not enough.

Steven Tyler was named in a lawsuit filed last December in Los Angeles filled with troubling allegations of “sexual assault, sexual battery, and intentional infliction of emotional distress,” as reported exclusively by Rolling Stone at the time.

“The plaintiff Julia Holcomb [now Julia Misley] alleges that Tyler convinced Holcomb’s mother to grant him guardianship over her when she was 16 years old, which consequently allowed her to live with him and engage in a sexual relationship,” Rolling Stone‘s Ethan Millan relayed within the sprawling report. “She claims they were together from 1973 until about three years later.”

Millman continued, “The suit itself doesn’t name Tyler, naming the defendants as Defendant Doe 1 and Does 2 through 50. But Holcomb — who Rolling Stone mentioned in a 1976 profile of the band in reference to Tyler’s romantic life — has been public about her experience with Tyler in the past, and the lawsuit directly quotes from Tyler’s own memoir.”

The allegations also include Misley being pregnant with Tyler’s child in 1975 at 17 years old, resulting in an abortion at Tyler’s request.

Millman reported on the ongoing case again on Wednesday, April 5. His new Rolling Stone piece states that the Aerosmith leader “has denied all the allegations.” Tyler is said to have filed his denial in Los Angeles County Superior Court last week.

“Tyler, represented by attorney Shawn Holley, issued 24 affirmative defenses denying all the allegations,” Millman wrote. “Among those defenses, Tyler alleged that Misley’s ‘claims are barred in whole or in part by Plaintiff’s consent’ and ‘because of immunity or qualified immunity to Defendant as caregiver and/or guardian.’”

Millman additionally noted, “Tyler also alleged that Misley ‘has not suffered any injury or damage as a result of any action by Defendant,’ further stating that ‘if it is determined that Plaintiff has been damaged, then any such damages were not caused by Defendant.’ Tyler claimed the alleged conduct — presumably writing about the experience in his memoirs — is protected under the first amendment.”

Misley’s attorney, Jeff Anderson, released a statement on Wednesday that denounces Tyler for “gaslighting,” “using a sham legal guardianship to avoid prosecution for sex crimes,” and “40 years of trauma.”

“In a new court filing seeking to deny Julia Misley her day in court, Tyler claims the teenager ‘consented’ to his sexual crimes,” the statement begins. “It’s astonishing, galling and arrogant that an adult is trying to defend his crimes and exploitation of an unguarded 16-year-old for his perverse pleasure.”

Read Anderson’s full statement here.

Chris McKay has now had two Batman-related movies that, most likely, will never see the light of day (just like Nicolas Cage’s Dracula in Renfield, but we’ll get back to that in a bit), though he does still hold out hope for one of them. McKay seems pretty confident he’s got a killer idea for a Nightwing movie that was in development at Warner Bros. (For those who don’t know, Nightwing is Dick Greyson, who was Batman’s first Robin.) But this was a few leadership groups ago at DC now and he does have hope that the new group might like what he has in mind. At least enough he’s not going to share what the plot of that movie would be, but he does take us through what it’s like to have a superhero quietly canceled. (It does just kind of sound like they stop calling you.)

The other thing he’s confident isn’t happening is the sequel to The LEGO Batman Movie. That movie made $315 million at the box office, but since its release, LEGO signed an exclusive contract with Universal (the two The LEGO Movies and LEGO Batman were Warner Bros.), which effectively ends any chance of seeing the DC superheroes anytime soon. McKay is confident enough that’s not happening that he did share the plot of what a LEGO Batman sequel would have been.

In Renfield, Nicholas Hoult plays the title character who has served as basically Count Dracula’s (played by Nicolas Cage at an intensity you’d expect from Nicolas Cage) errand boy for generations. In return, Renfield gets eternal life. Well, Renfield has had enough and is stepping out on his own. The pair now live in New Orleans where Renfield attends an emotional support group for people who are in toxic relationships. Eventually, Nicolas Cage’s Dracula catches on to what’s happening and isn’t very happy about it, while also coming up with a plan for world domination. (It should be added, this is a very gory movie.)

Renfield is McKay’s first film in theaters since LEGO Batman. The one in-between, The Tomorrow War was supposed to be a theatrical release, but was sold to Amazon when movies in theaters were still a dicey proposition, which resulted in … well it sure seems like everyone in the world saw that movie. (And McKay does confirm there’s a script for a sequel.) Ahead, McKay takes us through all of this.

I don’t like to judge a book by its cover, but Count Dracula did some things in this movie where he crossed the line.

Oh?

I can’t encourage some of this behavior.

Well yeah, I completely understand that.

Good.

That’s absolutely right. He’s the bad boss, he’s a toxic narcissist.

You know what? When he killed all the people at that support group? No sir. Not on my watch.

But we brought them back.

You did bring them back, yes. They didn’t have a very good experience.

No. There’s clearly something that they saw when they went to the other side.

So Nicholas Cage is Count Dracula — he is known as an actor who’s hard to get some emotion out of. That was my joke. Obviously, he’s going for it here.

He comes on the set and he’s ready to go. He’s got lots of ideas and he’s a lot of fun. Sometimes he’ll come in and he sees the scene as very confrontational and big. But then there would be times we’d do a couple takes like that, and then I would say, “Hey, why don’t we try this?” And he’d go all the way to the exact opposite of the way he started. He treats being on set like when he was making Super 8 movies with his cousins and his friends when he was a little kid. And he says, “I want to get that Super 8 feeling.”

Yeah, “his cousins.”

[Laughs] Yeah. Well, yeah. Yeah, that’s true.

Just these normal everyday cousins.

Yeah, just normal people like Francis Ford Coppola.

I was surprised when I read this is his first studio movie since Ghost Rider 2, is that right?

Isn’t that weird?

It is, because he’s in a lot of stuff. Is there a reason for that? Is this something you had to talk him into doing because it was a studio movie?

I think that the fact that it was Dracula was something that made him really curious. Because he’s a huge horror movie guy. He’s a big cinephile just in general. But from a horror movie standpoint, he is a huge, huge horror movie guy. And a big Dracula fan…

A guy who is not secret about the things he likes.

No.

You know what else he likes? He likes Elvis.

Yeah. And Superman.

He also likes Superman.

Yeah, absolutely. And Christopher Lee. He loves Christopher Lee’s interpretation of Dracula. But it was weird to me too, somebody brought it up. It wasn’t even something that I was thinking about. But the fact that he hasn’t been in a Hollywood studio movie in a long time. And the fact that the studio was really… I had to do some arm twisting to get them to want to do this. But they actually were hugely behind it. So I think it’s because I think that people just want to see him play Dracula. He’s one of those actors.

I talked to you for The Tomorrow War. That was an Amazon movie and it seemed like everyone wound up watching that on streaming.

Yeah. It started off as a theatrical.

Anyway, how does this work now? What’s your experience with a movie that was only on streaming versus now you’re going back to theaters. So where are you on all this? Universal seems to put most of their movies on Peacock after six weeks.

For a comedy, I think you need to see a movie in a theater. I think it’s important. And I think horror movies and comedies work with an audience, that’s the most fun place to see those movies. And the fact that the Universal committed to that. Committed to an R-rated movie theatrically, things like that…

Yeah, this isn’t a borderline R.

No. This isn’t something where you can kind of go, “color the blood a little brown,” and you get away with it. Decapitations and all…

High body count in this one.

That idea that they committed to it theatrically was really important. And right now, I’m sure, like you said, they’re going to put it on Peacock at some point, but right now they’re just like, this is a movie in theaters. And that’s it.

Last time I talked to you, you kind of made it clear that the Nightwing DC movie you were working on didn’t look great in terms of it happening. Take me through that process. Since we last spoke they have a whole new leadership crew running things. How close was that to happening? And then when did you find out that it wasn’t happening?

Well, no one ever really said that they’re not making that movie. They sort of … deprioritized it. You know what I mean?

So they stopped calling you about it.

[Laughs] Yeah, probably. It was very clear that they were like, look, we have to… depending on which regime you’re talking about, because obviously I went through a couple.

Yeah, there have been a few now.

But there were other things. They had the Zack Snyder version, and then they had to figure out how they were going to answer the other films they were making from those movies. Whether they’re going to do more Wonder Woman movies and that sort of thing. And all that kind of thing. So our movie has got deprioritized, but no one ever said, “We’re not going to make that movie.” They just said, “Right now we have to fix these things.” And then the regimes changed. And I’m hoping now with James Gunn that maybe we can re-approach that. I’d love to still make that movie.

I assume you feel you’ve got a pretty good idea for how to do this.

I did the Escrima sticks in Renfield! He’s got the arms as Escrima sticks.

Are they still going to make the LEGO Bat-Man movies?

No.

So that’s done?

Yeah, because it’s with Universal. LEGO is with Universal.

Oh, right. And Warner Bros. isn’t going to license out Batman…

Yeah. I think that they’re… yeah.

That’s a shame.

Yeah, I know.

That movie is really fun.

We had a really fun script with Dan Harmon and Michael Waldron, wrote a really fun kind of Superfriends. The sequel would’ve been a quasi Superfriends movie and the structure was going to be a sort of Godfather II kind of thing with Batman and the Justice League facing a modern-day problem, Lex Luthor and OMAC, while at the same time flashing back to the reasons why Batman and the Justice League – and in particular, Superman – have bad blood. It was going to explore Superman and Batman’s relationship in a very different way than you’ve ever seen it portrayed, including Superman’s alienation from humanity and how hard it is to truly be friends, real friends, for years. It was ultimately going to answer the question: How do you become Super-friends. And there was going to be a crossover with a major franchise that can only happen in a LEGO movie.

Speaking of sequels, it really did feel like everyone saw The Tomorrow War…

Yeah, because they released it worldwide on the same day. Literally, they released it around the world. I still get DMs from people from India and Brazil, and people who are discovering it, who loved that movie and loved the characters and stuff like that. Ultimately, it was a really great experience. But it was one of those things where, of course, you’re making a movie for the theaters. And then the movie was done and they were like, “No, we’re going to put it on a streamer.” It was a little bit of a hard pill to swallow because I’d seen it in theaters and I’d seen how it played. And still to this day, it still plays on Amazon. It’s still one of their number one movies to this day.

I’m surprised there isn’t another one yet.

Yeah. Well, there is a script coming for that.

You can contact Mike Ryan directly on Twitter.

Brian Cox dominates Succession as the brash, ruthless media magnate, Logan Roy, and now he’s bringing that same energy to his latest role: DirecTV‘s new “Overly Direct Spokesperson.”

In a new commercial directed by longtime Danny McBride collaborator Jody Hill, Cox stalks around homes and workplaces where he bluntly admonishes people for “doing TV wrong.” As the Overly Direct Spokesperson, Cox lets them know they could be enjoying the best shows and sports games instead of being left out of water cooler conversations, or worse, forced to interact with their kids. (Cox’s Logan Roy would really hate that last one.)

Via IndieWire:

“I thoroughly enjoy being the Overly Direct Spokesperson,” Cox said in a press statement. “The main broadcast spot is truly an ode to all that DirecTV is doing to simplify their TV watching experience.”

According to the agency behind the DirecTV ad, they weren’t sure if they could land Cox for the spot, but he was always the dream scenario. Locking down Logan Roy would be a perfectly meta casting coup, and fortunately, Cox isn’t as hard to pin down as the wily Waystar Royco CEO. Nobody had to play “Boar on the Floor,” that we know of.

“We had backups of course,” TBWAChiatDay executive director Jason Karley said. “But he was the prototype and the dream. He has the unique ability to sound both sincere and caring, yet critical and unfiltered in the same sentence.”

(Via IndieWire)

Last year, Rema shared his debut album Rave & Roses. He’s collaborated with Selena Gomez for a “Calm Down” remix, as well as FKA Twigs for “Jealousy.” Now, he’s bringing his material to late-night television with a new performance on The Tonight Show Starring Jimmy Fallon.

He brought both “Calm Down” and “Holiday” to stage last night (April 5). He enthusiastically performed the two tracks as a hypnotic medley, not losing the watcher’s attention for a second. He engaged the audience the most while playing the celebratory anthem “Holiday,” dancing in a thick cloud of fog.

About joining Rema for a remix of “Calm Down,” Gomez said she was honored to be on the song.

“I’m really excited to see the person that asked me to be on a song that I couldn’t be more honored to do,” the “Lose You To Love Me” singer said. “The song’s fun, I hope people like it. That’s all I want.”

Rema will be hitting some festivals this year. He’s on the roster for Broccoli City Festival next to names like Brent Faiyaz, Jazmine Sullivan, and Lil Uzi Vert. He’s also on the lineup for Switzerland’s Montreux Jazz Festival alongside Bob Dylan, Lil Nas X, and Sam Smith.

Watch Rema’s performance above.

DALLAS — It’s rare to recognize a truly historic Moment — one that ends up earning a capital M — when you’re in it. If you’re lucky, you’ll be able to look back years later and pick out points leading up to what will eventually come to be considered the turning point, the crossroads, the Moment, even though history’s usually told by looking backwards.

Not so for the Women’s Final Four.

Usually, when arriving to a city for the first time to attend an event that it’s hosting, you’ll feel like you’re in a microcosm of one. That microcosm will balloon the closer you get to the event — with sports, it’s usually the closer you get to an arena. Even on a regular game day, being absorbed by a steadily swelling stream of people whose excitement grows, giving way to shouts, chants, and song, is joyful because you’re part of something bigger. In Dallas, site of the NCAA Women’s Final Four weekend, there was no question of what it was the packs of people converging on downtown were there for.

From the day before to the afternoon of the first games, clusters of fans decked out in their team’s gear wandered through the city’s historic district, ducked into restaurants, made the trek to all four team hotels for merch and asked me for directions I very apologetically could not give. At one point, waiting for a light to change, I saw a group representing each of the four teams — Virginia Tech, South Carolina, Iowa, and LSU — at each corner of the intersection, all of them laughing.

The energy was palpable. People were excited, open, and wanted to chat, comparing friendly notes with rival fans on who’d come the furthest to get to North Texas and sharing whooping hopes with people wearing the same colors as them. Events and exhibitions scattered around downtown, like AT&T’s immersive Title IX 50th Anniversary Showcase. Daily panels with guest speakers like Sheryl Swoopes, Arike Ogunbowale, and LaChina Robinson reinforced the excitement and understanding that this wasn’t just a regular weekend of games. This was women’s basketball.

And the basketball was electric. Friday’s double-header was a downhill blur from start to finish. Four plus hours of basketball that was equal parts bracing and agile, sharp and eye-trick smooth. Virginia Tech pulled out ahead of LSU and looked primed to stay there until LSU, in a theme that ran throughout their season and stayed put all weekend, dug into their hybridized blend of all-for-one showmanship. With a five-minute, 15-0 run in the fourth quarter, the Tigers dominated by choking the Hokies’ passing lanes, bullying up for every rebound, and converting nearly every stop they got.

In the second match up of the semi-finals, the tournament’s underdog, Iowa, ran onto the floor to arena-shaking cheers against the South Carolina Gamecocks. Coming into the game 36-0, Dawn Staley’s group was as cool as their record reflected, refusing to get rattled by Caitlin Clark turning it on early and often. Even with their composure and staggering advantage on the glass, South Carolina 42-game winning streak was overrun by Clark’s 41-point, record-breaking game.

(A brief aside: Watching Clark, it has to be said even if you’ve already heard it, conjures up a rare, out-of-body basketball watching experience. When she pulls up from deep, she doesn’t line up, doesn’t wait, barely straightens up — just shoots. Automatic as breathing.)

Going into Sunday, even after a Saweetie show Saturday night that featured a gleeful appearance from LSU’s Angel Reese, the mood in Dallas was quiet, tamped down. The block party buzz of Friday evaporated with the rolling thunderstorms through the city, and even in the arena, while fans were alert and the air was charged, LSU and Iowa took to the floor dutifully zeroed in.

Where the Hawkeyes came out intent on getting Clark down the floor to shoot, the Tigers were balanced. For a group that added nine new players this year, the fact of their working out together in summer before their school year started was clear. LSU played an intuitive, connected game of disruption and intensity. Even against heavy-handed calls by the refs on both teams, LSU saw vital contributions from their entire roster and were up 17 by the half.

When Iowa worked hard to get their offensive legs under them, the Tigers tripped them up or outright kicked them out. For how much LSU operates on a technical string on the floor, that same tether ran through the group like a conduit for joy. Watching senior guard Jasmine Carson score 22 points came from the cumulative work it takes to be ready to step in the moment, but when she did, her teammates lit her up. It’s one thing to watch a great team play well. It’s totally another to watch a great team play well and have a ball doing it. It’s also a near impossible combination to beat.

The gravity of the win, once the confetti cannons finally ran out of paper fuel and every player on LSU’s roster cut down their piece of the net, was clear in the Tigers postgame. Already there had been online chatter building about Reese, pointing at her ring finger and waving a hand in front of her face while trailing Clark around the floor as the clock ticked down. The one-sided pearl-clutching of “celebrating the right way” while the loaded duality of being a woman, and a young Black woman, further fuelled calls that Reese was behaving in a way that was “classless,” like Clark hadn’t done the same a week earlier, and like removing that fact from the discussion wasn’t weirdly infantilizing her. Clark has since called the discrepancy out.

“All year I was critiqued about who I was. I don’t fit the narrative. I don’t fit in the box that you all want me to be in. I’m too hood, I’m too ghetto. Y’all told me that all year. But when other people do it, y’all don’t say nothing. So this is for the girls that look like me,” Reese said facing the media. “This was bigger than me tonight.”

And it was. In the way that Reese meant it, for young Black girls watching (according to an email from WSN, searches for girls basketball clubs spiked by 305 percent in the U.S. and 236 percent worldwide following the game), and for the record 9.9 million viewers watching the Women’s National Championship game across ABC and ESPN2. As of March 14, all ad inventory for women’s tournament had sold out and preemptive spots for pregame shows ahead of the Final Four went with them.

There’s a prediction that the women’s tournament could be worth $112 million by 2025, a very lucrative boost as there are calls from some of the most prominent names in the sport for the NCAA to pursue a separate television deal for the women’s and men’s tournaments. It’s a stark contrast to the 2021 women’s tournament which came under fire, enough that the NCAA was pressured into commissioning an external review of the organization’s historic treatment of the women’s game, when viral videos shot by athletes like Sedona Prince showed a sharp difference in amenities, lodging, and equipment to the men’s tournament.

The report found “systemic gender inequity issues” and the perpetual undervaluing of women’s teams by reinforcing “a mistaken narrative that women’s basketball is destined to be a ‘money loser’ year after year.” Given the report, and the lucrative numbers by broadcast and revenue standard generated in Dallas, the old, exhausted adage that the women’s game isn’t good for business falls flat, and overdue, on its face.

It’s also why this past tournament wasn’t, as can happen when brands work fast to atone, an over-correction. You soon realize when dropped into the thick of something like the Women’s Final Four weekend that there are no women’s basketball generalists. Fans are adroitly dialled in, with an awareness that branches beyond the bounds of their own allegiances, making the average “baseline” of knowledge huge. Arguably, yes, the so-called “generalists” that travelled to Dallas for the weekend shouldn’t really be called that, because even with no team in the running, these fans felt determined enough to make the trip. Still, a part of me wants to believe that these types of diehards do represent the average women’s basketball fan, because when you’ve historically had to work twice as hard to find coverage, even to watch live broadcasted games to have a sense of being proximal to the action, it’s going to deeply personalize your interest.

The goal, as the women’s game palpably grows, as future attendance records are shattered like they were in Dallas, isn’t to lose that level of intensity in fandom. It is to gain casual fans, fair-weather fans, just happy to be here fans, alongside the rabid ones. To have generalists. As Clark said to Jeremy Schaap of Outside the Lines following the tournament, “the viewership speaks for itself.”

The women’s game will always be exceptional, the goal is to grow it away from being treated as anomaly; as something either too niche to explode in the public consciousness or too specific and rare to survive on its own sure, skilled feet. The goal, well underway, is really pretty simple. Give women’s college basketball a platform that gets it to tens of millions of screens, and step back to let it cook.

Before his music was racking up millions of streams, NLE Choppa, real name Bryson Lashun Potts was winning in another way. The “Mo Up Front” rapper was racking up points on the leaderboard as a rising basketball star. The Memphis native has shown his love for the sport throughout his music, including on his track “23.”

Reminiscing on his time on the court, the rapper stopped by Uproxx studios to play a modified game of fantasy basketball with our very own Cherise Johnson. Instead of drafting active players in the National Basketball Association, NLE had to build his five-person roster of a single point guard, shooting guard, small forward, power forward, and center from his fellow musicians.

Up for his imaginary draft include rappers Rico Nasty, Polo G, G Herbo, Roddy Ricch, Lil Baby, Young Thug, 2Rare, Chief Keef, Ice Spice, DDG, and himself. Also on the board is singer SZA.

In part one, he selected “Shirt” singer SZA as his team’s official shooting guard and himself as the point guard. For part two, NLE adds his pick of commentator, head coach, and more.

Watch part two below to see who rounds out NLE Choppa’s NBA roster.

Outside of his NBA team roster with musicians, be sure to check out NLE Choppa’s UPROXX Sessions performance of his single, “23,” here. You can also watch his Behind The Video episode for the track here.

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

For years, the biggest “will they/won’t they” in Hollywood has been the idea of another Shrek installment. The original film hit theaters over two decades ago and has spawned a number of sequels, feline-led spinoffs, and various holiday specials, but there hasn’t been a main Shrek tale since Shrek Forever After in 2010. Even though the “forever after” aspect implies that we are done with the infamous ogre, it’s clear that fans and the cast are still on board with another installment. At this point, it seems to just be for nostalgia’s sake, but that kind of stuff works nowadays.

Illumination founder and CEO Christoper Meledandri confirmed to Variety that Dreamworks is looking to bring Shrek back to theaters, thanks to the current uptick in animated features. He explains, “It’s not that dissimilar to the process that we went through with Mario, where you look at what the core elements are that audiences have loved, and you do your very best to honor those core elements. And then you’re hard at work to build story elements and new characters that take you to brand new places,” Meledandri continued.

Even though there is demand for it, nothing has been confirmed yet. It’s worth noting that the idea of another Shrek installment dates back all the way to 2018, when it seemed like the series would get a fresh new reboot. Now, it seems like Meledandri wants the whole game back for another go, instead of a franchise makeover.

Meledandri continued, “The original cast is a huge part of that. We anticipate the cast coming back. Talks are starting now, and every indication that we’ve gotten is there’s tremendous enthusiasm on behalf of the actors to return.” Now that Cameron Diaz is back making movies and Eddie Murphy has been practicing his Donkey voice, the timing is perfect! Mike Meyers hasn’t been doing much, anyway.

There is still no confirmed date or cast, but it seems like it’s really happening this time. Hold on to your gumdrop buttons, folks!

(Via Variety)