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Earlier this year, fans watching basketball at the Tokyo Olympics were treated to halftime entertainment in the form of a basketball shooting robot that shot from the free throw line, three-point line, and even halfcourt, leading to a lot of jokes about Ben Simmons, Kawhi Leonard, and others.

After impressing early on, the robot was exposed as a fraud, incapable of dribbling and, as the tournament wore on, it got less accurate and started missing shots. However, the FIBA basketball robot got back in the lab — literally, in this instance — and has added dribbling to its arsenal, as it showed off on Monday. However, unless this robot is going back in time to play in 1947, these garbage handles aren’t going to get it anywhere anytime soon.

As happened the first time around with its pitifully slow shooting form, the reaction to the robot dribbling from people was mostly about how they would still destroy it in some 1-on-1.

There were also lots of folks calling out the robot for looking like Stanley from The Office trying to dribble with just one hand.

And, of course, Bob Cousy got slandered by many because, well, what else do you expect from a video of someone dribbling slowly with one hand in a straight line.

Whatever your thoughts on The Matrix Resurrections, and my own were something along the lines of “the best part was when they made fun of the idea of trying to make a Matrix sequel,” I have some information that’s bound to improve your viewing experience.

If you’ll remember, a few months back, the lead singer of the band Brass Against, Sophia Urista, apologized for an incident in which she brought a fan onstage and urinated in the man’s eager mouth during the band’s cover of Rage Against The Machine’s “Wake Up.” You can watch it below, and hey, why wouldn’t you?

As for the background, per Stereogum: “Get my man with the can on his head ready, ’cause we’re going to bring him onstage and I’ma piss in this motherf*cker’s mouth,” she said while Brass Against covered Rage The Machine’s “Wake Up.” “I gotta pee,” she said. “And I can’t make it to the bathroom. So we might as well make a show out of it.”

In my opinion, this was nothing that required apology. The fan clearly was clearly into it, and if I had been at a show where the lead singer peed in a guy’s mouth I probably would’ve considered it great entertainment (it’s certainly not the wildest or the grossest thing a performer has ever done at a punk show). So long as I wasn’t one of the people in the front row who the guy spat the pee on. That was kind of messed up. In any case, it was a really impressive stream. Sophia Urista should be celebrated both for her skills as an entertainer and for her powerful bladder.

Which brings us to The Matrix: Resurrections. After a promising first 30 minutes or so and increasingly exhausting next 90+, the film finally comes to a close in a sort of coda scene, which I won’t spoil here, mostly because I didn’t understand what was even happening at that point well enough to try to explain it. The more salient fact was the song that kicks in during the film’s closing credits: that’s right, “Wake Up,” by Brass Against. Next time you watch it, feel free to nudge your date during that moment and loudly whisper, “That’s the pee song.”

I can assure you that whatever the hell was supposed to be happening in that scene was greatly improved by imagining Sophia Urista shouting “I’ma piss in this motherf*cker’s mouth!” playing underneath as it does. Was this another meta moment from director Lana Wachowski? Who could say, really, but for this viewer, it was a bold choice that truly worked.

Vince Mancini is on Twitter. You can check out his film review archive here.

Gather round, children, ’tis time to participate in a great tradition! Each year, we culture writers spend 50 weeks of the year trying to inspire conversation around works of art and entertainment, attempting to offer nuanced perspectives and building rapport with our readers through shared experiences. And every year, we spend the final two weeks of the year reducing those complex works and nuanced perspectives down to simple numerals, inviting our readers to disagree for the pettiest of reasons and putting that rapport onto a great pyre. Titane over Belfast? Chug diarrhea, moose lips!

Why build up all that credibility only to throw it away for a few cheap clicks every December? Uh… tradition, mostly? I dunno why we do it, we just do. To paraphrase Hansel in Zoolander, who cares? It’s only movies.

So in the interests of gripping it and ripping it, living my life with a lot of flair, here they are, my favorite movies of 2021. If forced to generalize, I’d say that this year’s crop of films was a lot better than last year’s, if disappointingly structured. I thought that perhaps an unprecedented pandemic that forced many companies to make changes in the way they plan, shoot, release, and market movies might cause some of them to take stock, and maybe make some of those changes permanent.

But for the most part, nope, they went right back to doing it the way it had always been done as soon as it seemed even moderately tenable. For instance, remember how studios used to crowd all of their releases with any artistic pretensions at all into the last six weeks or so of the release calendar? Well guess what, we’re doing that again! I want to fault studios for this, but yet again, most critics-associations year-end best movies lists seem to consist mostly of movies that sent them FYC mailers in November. Why release a good movie in January when no one will remember it?

Obviously, the big question for the movie industry is the future of the theatrical window. We’re in a weird place where the pandemic killed it for some, reduced it in other places, and allowed it to persist in others. I’m not a business analyst (and I think it would greatly improve society if more people stopped playing “fantasy business analyst”) so I’ll simply say that I still appreciate the theater-going experience. To be able to set aside time to truly experience a movie, without hearing your kids shouting from the other room, the temptation to look at your phone, etc, is still the best way to view a movie.

This is conditional, of course, because the theatrical experience these days has its own problems. Probably a good half the time I went to the theater this year, the screen seemed too dark, the house lights were left on too long, the sound seemed muffled… whatever. What should be a venue for ideal viewing conditions often simply isn’t. Theaters have clearly reduced the number of staff who understand how to work things, not to mention dimming lights and reducing power to speakers to extend the life span of their equipment.

Whether this is corporate greed or necessary cost-cutting in the face of declining attendance I’m not entirely sure (fewer execs and more projectionists sounds like a great solution to me). But it’s starting to feel like a downward spiral. The shittier theatergoing gets, the more people stay away, and the more people stay away, the shittier it gets, and so on. I hope that cycle breaks somehow, because I still like sitting in a comfy chair and spilling popcorn everywhere and the sound of my feet sticking to the floor while I watch movies in a single sitting. At home, I think it took about 10 hours of actual time to get through Being The Ricardos, which claims to be just over two.

As for my picks below, they were about half and half home watches vs. theater. The distinction between a “straight-to-streaming” and a theatrical release seems to be disappearing in general. And that’s great! I’d love the freedom to be able to choose whether to spend $12 to go out or $12 to stay home and have both be equally viable.

Anyway, here are my top 15 of 2021. You’re free to disagree but then we have to fight.

15. Vacation Friends

I’ve seen Barb & Star Go To Vista Del Mar on a few best-of lists this season, and I did ultimately enjoy that one after nearly turning it off (the turtle scene won me over). But as long as we’re on the subject of low-stakes mainstream comedies, it seems everyone slept on Vacation Friends, a forgotten John Cena/Lil Rel Howery gem from late August that went straight to Hulu. If you didn’t see it, I don’t blame you. I would’ve been the first to tell you to avoid a wacky studio comedy with a reductive title starring John Cena. After F9 I never wanted to see that big dumb face again, trust me.

Yet Vacation Friends, from director Clay Tarver, turned out to be much funnier than I expected and John Cena far more tolerable. Rather than an extended sketch about John Cena and Meredeith Hagner as the “nightmare couple” that Lil Rel and Yvonne Orji’s boringly sensible characters sensibly try to avoid, it takes the shape of an unconventional four-way friendship, which you end up kinda-sorta caring about. John Cena plays a Caucasian twist on the Magical Negro trope, both an inspired flip and a constant sight gag, thanks to Cena’s weird shaved armpits and baby smooth body and giant cinder block head. Comedy relies on surprise, and Vacation Friends was a nice surprise.

14. The Lost Daughter

Maggie Gyllenhaal was always an unconventional sort of actress who didn’t do the usual kinds of projects, and with her directorial debut in The Lost Daughter (which she also scripted, adapting from Elena Ferrante’s novel) she proves to the same kind of storyteller. This is the kind of movie you naturally expect to be morose, meditative, meandering — all of those M words that become de facto synonyms for “dull.” Inasmuch as Olivia Colman might look at first glance like one of those bog standard sad-heroine-in-an-awards-film characters (movies like Pieces of a Woman or Cake come to mind), she’s much weirder than that. Colman’s “Leda” is more like an arthouse Larry David, with the dial set one more degree towards pathological.

Gyllenhaal seems to have an eye for actors who are as unique and talented as she is, so she has Olivia Colman as the lead, with Jessie Buckley playing young Leda, with Peter Sarsgaard, Ed Harris, and Dakota Johnson in supporting roles. The Lost Daughter is as picturesque and introspective as you might expect, but it’s also funny, and consistently weird. It could really have used an ending, but it was fun getting there.

13. North Hollywood

A movie no one saw? Don’t mind if I do! Mikey Alfred is a 20-something skateboarder whose mom worked as an assistant to Robert Evans when he was growing up. After founding a skate brand and co-producing Jonah Hill’s directing debut, Mid90s, Alfred figured he could make his own indie movie starring skateboarders, and so he did. When none of the big companies wanted to release it, despite Alfred’s decent track record of working with artists and celebrities, he just released it himself through his skate company.

Alfred’s debut, a kind of American Graffiti for Gen Z skate kids in LA, reminded me a lot of watching early PTA films for last week’s PTA rankings. They weren’t always as thematically rich or narratively complex as they would eventually become, but they always had a look, something about them that made you want to keep watching. North Hollywood has that. It also has Vince Vaughn in an unexpectedly enjoyable turn as a dorky dad and skateboard kids doing their own stunts, a few of whom, like Nico Haraga (above right) can really act. It also seems to have a few things to say about this generation’s hustle culture that we haven’t seen before. And how many recent movies have had anything to say about anyone under 50?

12. Some Kind Of Heaven

I don’t usually put a ton of docs on this list because I generally like most of them even if they aren’t always great artistic achievements. But Some Kind Of Heaven, director Lance Oppenheim’s profile of The Villages retirement community in Central Florida, is not only one of the most visually beautiful films I saw all year, it also had some of its most memorable characters — from Reggie, who spends his days tripping balls on powerful hallucinogens to the chagrin of his much more conventional wife, to name-dropping drifter Dennis, to Barb, who seems determined to find love and try new things, even though it hasn’t been going too well so far. They’re all in their 80s, incidentally.

It’s a film that proves once and for all that getting old doesn’t have to mean growing up. Or maybe just that half the state of Florida should have their own reality show. Some Kind Of Heaven is basically a perfect watch, and I’m going to be pissed if I find out any of these people are dead now.

11. Finch

It might not exactly be a revelation to discover that Tom Hanks is really great at carrying a movie in which he spends the whole time yelling at non-human characters, but that doesn’t make Finch any less enjoyable to watch. Some people may have written off Finch (my review) as too derivative of Castaway (the only reason I can think of that it wasn’t more widely seen or better reviewed, other than that it was released on Apple+), but frankly I think it was better than Castaway. Castaway is about a guy going through an ordeal who has to maintain his will to live. Finch is about a scientist on a ruined Earth trying to train a robot to take care of his dog. Granted it helps that I’m a dog person and the dog from Finch is an extremely handsome boi, but I have a hard time imagining a sweeter, more humane premise than that.

10. The Eyes Of Tammy Faye

Before this, I was never a huge Jessica Chastain fan, on account of I feel like I’ve seen her play the same “no-nonsense hardass” character 15 times now (with probably some residual annoyance left over her having given voice to the worst line — “I’m the motherfucker who found him, sir” — in one of Hollywood’s most insidious hack jobs, Zero Dark Thirty). But in The Eyes Of Tammy Faye, Chastain delivers a livewire performance as Tammy Faye Bakker, a character who seems almost pathologically grating and borderline unhinged, yet is also openhearted and generous in a way that professional religious folks almost never are.

Certainly The Eyes Of Tammy Faye, directed by Michael Showalter from a script by Abe Sylvia, feels like it might partly be a case of liberals trying to retcon Tammy Faye in their own image. But its signature moment, Tammy Faye interviewing a gay man with AIDS live on Christian television, was a real thing that actually happened, so there at least seems to be some justification for it (fun fact: the guy she interviewed, Steve Pieters, is still alive, despite having full-blown AIDS and being diagnosed with two types of terminal cancer in 1985, about as feel-good a story as you’ll ever find). However close it is to the truth, Chastain’s portrayal of Bakker is unforgettable, one part nightmarishly unhinged and two parts preternaturally empathetic, with a singing voice that somehow chilled me to the bone and made me giggle simultaneously.

9. Bad Luck Banging or Loony Porn

After years of demanding that mainstream films show the dongs going in, one crazy bastard in Romania finally did it — Radu Jude, director of Romania’s Oscar submission, Bad Luck Banging, or Loony Porn. The film opens with a sex tape, shown in all of its explicit glory, starring a teacher named Emi, played by Katia Pascariu, and her husband, played by the porn star Stefan Steel. The sex tape has leaked online, and in part one of Bad Luck Banging, Emi has to run a series of errands around Bucharest while dealing with the fallout.

Jude shoots part one guerrilla style around the city (at one point, an older woman looks directly at the camera and calls the cameraman a nasty word), in a perhaps slightly overmeditative sequence that questions what happens to a person’s humanity when she becomes yet more imagery, of the kind we’re all bombarded with at all times. Part two is an odd glossary of historical facts, jokes, and aphorisms, and in part three, Emi has to face her colleagues and the parents at her school in a sort of kangaroo court straight out of Curb Your Enthusiasm (if Curb depicted full penetration). It’s a wildly idiosyncratic movie but also a wildly memorable one. It’s about as close to a straight up sex comedy as foreign awards movies ever get.

8. Titane

Speaking of idiosyncratic foreign art films, we have Titane, from Raw director Julia Ducornau, who cements herself as one of the most balls-to-the-wall filmmakers on Earth. Julia Ducornau is punk as hell and I love her for it. I could try to tell you what Titane is about but it’s probably best that you just watch it. My wife walked in halfway through my viewing and I had to try to explain it to her: “So, this girl kills people, and I also think she might be pregnant with a car? Now she’s pretending to be this guy’s dead guy’s son.”

7. Benedetta

As thankful as I am to have up-and-coming filmmaking voices like Julia Ducornau, I’m equally thankful to have old masters like Paul Verhoeven (Robocop, Showgirls, Basic Instinct), still as much of a horny little Dutch freak as he ever was at the age of 83. Benedetta (original review) is a religious (sacrilegious?) fever dream about the plague, the Catholic church, and lesbian nuns. It balances pure schlock escapism with just enough exploration of ideas about power and religion that you know it’s there (which is about the right level for a Verhoeven movie, I find). There are times Benedetta feels like Skinemax-lite and times it feels like a Sundance movie.

So many movies — most I would say — tend to start dragging around the one-hour mark. By contrast, that’s when Benedetta starts to heat up. I was sold on the opening, sort of halfway invested for a while after that, and then around the hour-mark the whole thing feels like it just keeps speeding up and speeding up until it explodes into a glorious grand finale. Very few movies can you say this about. Also, medieval fart lighting.

6. The White Tiger

The White Tiger hit Netflix in January and I had to check last year’s list to make sure I hadn’t included it there. It feels like I saw it half a lifetime ago. Yet the fact that I still remembered it clearly enough to look should tell you something about how good it is. There are movies I saw in June that I’ve completely forgotten by now. Anyway, Ramin Bahrani’s adaptation of a novel by Aravind Adiga is a beautifully shot, witty exploration of class starring a chauffeur-on-the-make, Balram, played by Adarsh Gourav.

The White Tiger exists on a continuum of similar, also-good movies set in different countries, from this year’s 7 Prisoners (good but not quite as good as The White Tiger) out of Brazil and 2019’s Parasite (which is better, but Parasite is a stratospherically high bar) out of Korea. Set in 2010, The White Tiger is also one of those stories that manages to be relevant not by generalizing, but by keeping every detail of its original context, from the outsourcing boom still in its infancy to Balram’s letters to then-Chinese premier Wen Jiabao. It’s smart, funny, looks great, and it moves.

5. The French Dispatch

I’d been a little down on Wes Anderson in recent years as I thought he was sort of stagnating as an artist, our dancing little whimsy monkey doing his kitsch dance for the NPR tourists. When I saw Owen Wilson wearing a beret in the trailer I did not have high hopes. But The French Dispatch (my review) was Anderson’s best film in at least a decade, a love letter to overwrought prose (which Wes Anderson parodies better than anyone in the world) that was earnestly horny rather than twee, vulnerable where he can sometimes be deadpan and detached, exuberant rather than subdued. It was, frankly, pretty wonderful.

An homage to the New Yorker, The French Dispatch takes the form of an issue of the titular paper, with separate sections and title cards. Bill Murray plays the paper’s benevolent despot, with a “no crying” sign over his office door and a stern but patient attitude towards his excitable, precocious charges. To whom he often delivers his signature advice, “Whatever you write, just try to make it seem like you did it on purpose.”

That’s just about the best advice for doing anything. In The French Dispatch, Wes Anderson takes so many things that might feel like tics or oopsies in other movies and makes them feel fully intentional. It’s not only a great movie in it own right, but functions as a kind of user’s guide to his other films.

4. Red Rocket

Simon Rex, who had his own history with starring in porn (he doesn’t want to talk about it, though I don’t entirely blame him) turns in one of the performances of the year as Mikey Saber, a down-on-his-luck ex porn star returning to his Texas hometown in Red Rocket (original review), from Florida Project director Sean Baker. What begins as a sort of The Wrestler for porn gradually devolves into a kind of slow motion, satirically cheerful car crash.

It’s hard to remember a character this simultaneously watchable and awful outside of The Sopranos. As he always seems to do, Sean Baker also gets unforgettable performances out of a handful of first-timers and non-actors in supporting roles. It’s rare to find a movie about porn that neither smears nor sugarcoats, but Baker clearly did his homework. It might be his best film. For Rex, it’s also one of those once-in-generation confluences of actor, character, and public persona.

3. Dune

Yeah, I liked Dune. Dune your mom!

Dune would be worth it simply for the opportunity to do this idiotic joke at least 50 times this year, but the movie was pretty great too. I had somehow managed to never read any Dune books or watch the previous Dune or see the documentary Jodorowsky’s Dune before this year. Denis Villeneuve’s fairly straighforward (I assume) take on the source material was just about perfect for me, the idiot Dune virgin.

Almost immediately I came to understand that Dune was basically what George Lucas had been going for in Star Wars. Seems like Lucas mostly just took Dune and put it through a sieve so he could sell it to babies. He took out all the stuff about commodification and colonialism and made the same tale of a special boy from a desert planet into a slightly corny cowboy story about “light” and “dark.” A brilliant marketing move to be sure, but a little boring if you like sci-fi more as a way to explore human nature than to escape it.

Denis Villeneuve did a brilliant job adding that nuance back in. He gave the whole thing scale, spectacle, and a realistic grounding without losing the silly and surreal elements that make Dune so delightful, like the special dance one has to do to avoid getting eaten by giant sand worms. Ride with me! We shall do the worm dance of our people!

2. Licorice Pizza

Paul Thomas Anderson, who gave us the sexually-liberated, freewheeling 1970s in Boogie Nights, and the conspiratorial, cultish, drug-addled 1970s in Inherent Vice, completes (continues?) his 1970s trilogy with Licorice Pizza (original review), a more personal look at the seventies specific to showbiz and the San Fernando Valley.

It’s hard not to wonder if there’s a little of PTA in Gary Valentine (played by Philip Seymour Hoffman’s son Cooper), a former child actor and budding Dale Carnegie who snaps up every opportunity that comes his way. PTA is a college dropout, after all, the son of a semi-famous TV personality who directed his first feature (Hard Eight) at 26. A really damned good first feature, I might add.

Licorice Pizza is gorgeous, as all Paul Thomas Anderson movies are, and, characteristically full of perfect performances from a mix of old veterans and fresh faces. Yet there’s also something about it that makes it feel more central to understanding who Paul Thomas Anderson is as a person than some of his previous films. There aren’t many two and a half hour movies that make you want to start them over as soon as the credits roll but Licorice Pizza is one of them.

1. Green Knight

I’m not usually one for abstract, spooky head trips, but Green Knight (my review) was the kind of movie that could change that. Dev Patel plays Sir Gawain, a young knight on a quest to fulfill his bargain with the mysterious Green Knight, represented here as a sort of magical tree man, in director David Lowery’s adaptation of a mysterious 14th century poem whose true meaning scholars have debated for centuries. In Lowery’s telling, The Green Knight seems to represent mortality in some way. Should Sir Gawain (whose name the king, played by Sean Harris, memorably and inexplicably pronounces “GARRR-win”) go and face death, because that’s what it means to be a man? Or try to cheat death because that’s what it means to be a survivor?

Don’t go in expecting a sword and maidens swashbuckler, but for me Green Knight was utterly unexpected and near-to perfect, with the best cinematography of the year and perhaps the best performance: Alicia Vikander, doing double duty as Gawain’s earnest peasant concubine and a flirtatious noblewoman. All that plus visible semen! The prop guy deserves a raise for that one. 2021 was a horny year in cinema, and for that I’m thankful.

Vince Mancini is on Twitter. You can check out his film review archive here.

Warner Bros. has a belated holiday present for us all: a new trailer for The Batman. But unlike Batman Returns, it’s not very festive (it does have the Penguin, though). The trailer has Robert Pattinson’s Batman and Zoë Kravitz’s Catwoman teaming up to stop Paul Dano’s Riddler, who we see for the first time. He crashes a funeral (literally) while wearing a piece of tape over his mouth that reads “No More Lies” and a menacing-looking electronic device around his neck. This Riddler is not afraid of the big, black bat.

The trailer is appropriately morose for a movie where the lead character is influenced by a moody rock star, but there are a few jokes, including Bruce Wayne commenting on Selina Kyle having a lot of cats. “I have a thing about strays,” she responds. Kravitz told BuzzFeed that the “funny thing about working with cats is that they don’t care — which is why we love them. Like, I spent time with all the cats before we shot with them, but they don’t remember me [laughs]. Like, they don’t give a sh*t.”

The cats don’t give a sh*t, but everyone else is excited for The Batman. Watch the trailer above.

The Batman, which is directed by Matt Reeves and also stars Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, and Colin Farrell, opens on March 4, 2022.

A few days ago, Unknown Mortal Orchestra declared that on Christmas Day, they were releasing something called “SB-09.” Well, Christmas has come and gone, and as kids around the world opened their presents from Santa, UMO fans took to their music consumption platform of choice and fired up “SB-09,” a new 19-minute song. As the palm tree-heavy single art suggests, the tune has some laid back tropical vibes to it, marked by its use of slide guitar and relaxed rhythms.

Dropping an instrumental on Christmas has become an annual tradition for UMO, as last year brought “SB-08,” 2019 yielded “SB-07,” and so on.” On Twitter, the group noted this year’s song is “dedicated to chance.” Meanwhile, somebody asked if the album will be pressed on vinyl, and in what was either a joke or a genuine report on the status of the song’s vinyl pressing, UMO responded, “ask adele lol.”

2020 was a relatively quiet year for UMO. June brought a new song called “Weekend Run,” they remixed Arlo Parks’ “Too Good” the next month, and they dropped “That Life” in August. The last major releases from UMO came in 2018 when they dropped a pair of albums: Sex & Food and IC-01 Hanoi.

Listen to “SB-09” above.

The 2024 presidential election is still a ways off, but Joe Rogan is already making a prediction that involves Donald Trump getting back in the game, only to get destroyed by a surprising candidate. That candidate? Michelle Obama. Naturally, Rogan’s prediction involves a dose of potentially problematic wording as well as some anti-vaccine shenanigans as well.

On a recent episode of The Joe Rogan Experience, the podcaster predicts that Obama will be at the top of the ticket with Kamala Harris once again serving as running mate. “We get a double dose of diversity,” Rogan said (via Mediaite) before praising Obama as being “articulate.”

“She’s great, she’s intelligent, she’s articulate, she’s the wife of the best president that we have had in our lifetime in terms of like a representative of intelligent articulate people,” Rogan said. However, the podcaster also predicted that Trump could still win if he forms a “super team” with Florida Governor Ron DeSantis, and Obama doesn’t push back forcefully enough against vaccine mandates and lockdowns.

“The only thing that would stop her is if she bought into some of these policies that are destroying businesses in America that are making people scared,” Rogan predicted. Considering Michelle Obama isn’t an idiot and believes in science like the majority of the Democratic Party, we’re guessing she’s not going to come out swinging against COVID restrictions, which should be a moot issue by 2024, hopefully. Please.

(Via Mediaite)

Idiocracy landed in theaters over fifteen years ago, and since that time (especially over the past five years), Mike Judge’s movie has remained forefront in the collective consciousness. Obviously, the thought of Terry Crews’ President Camacho blasting firearms springs to mind (while Luke Wilson’s smartest dude cringes), and endless comparisons can be made about the film’s central premise: civilization lies in a shambles in the movie because the smart people stopped having kids, and the not-so-smart people populated the earth with their genes to disastrous effect.

One can barely witness a week of the current political/cable-news cycle without someone, somewhere, comparing the situation to Idiocracy. The pandemic’s exacerbated the situation with the antivaxxers shoving scientists to the side, and yep, this won’t stop anytime soon. Over on Fox Business, however, one of the movie’s key moments was nearly replicated last week by host Lisa Kennedy Montgomery, who’s still known simply as “Kennedy,” a moniker that’s stuck around since her 1990s MTV VJ days. As highlighted by Digg, Kennedy reverted into incomprehensible noises during a discussion about student loans. Now, the comparison clip is circulating on Twitter.

Above, Kennedy’s shown reacting to Alexandra Ocasio Cortez and Rashida Tlaib’s remarks about the sky-high debt that people find themselves in after pursuing higher education. Both of these representatives argued for the cancellation of at least some amount of this debt, and Kennedy wasn’t feeling it. She practically channelled part of Idiocracy‘s Velveeta and Formica exchange (including the “blah blah blah followup”), and yikes. Clearly, the film continues to be prescient, and everything has come full circle now, even if we’re talking about Fox Business, rather than Fox News itself.

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.

If there was any knock against Roddy Ricch on his debut album Please Excuse Me For Being Antisocial, it’s that so much of it sounded like somebody else. He wasn’t shy about wearing his influences on his sleeve. Whether he sounded like Young Thug or he sounded like Lil Wayne, much of Antisocial was the sound of an artist who’d arrived at the highest echelon of rap stardom — thanks in large part to the dominant single “The Box” and his affiliation with Nipsey Hussle on “Racks In The Middle” — still figuring out who he wanted to be.

On his new album, Live Life Fast, not only is he a year removed from his debut and the furor surrounding it but he has also had, like many of us, a year away from the routines of life. He’s had time to contemplate himself, his newfound fame, his role in the world, the effects of the traumas he spent most of that album describing. That sort of self-reflection is rarely afforded to artists of Roddy’s standing and trajectory, and the results are, if nothing else, intriguing to hear.

Admittedly, without having any record as immediately explosive as “The Box” on Live Life Fast, the new project is likely to be a much slower-burning sort of hit, one driven by its multi-layered songwriting and production inspiring repeat listens rather than the massive success of one or two singles that strangle radio and playlists for months on end. He still alternates between that yowling, yelping, strained vocal delivery and the clipped, terse rhythmic one throughout the new album, but he’s got some new things to say.

Time and adversity have a way of shifting your perspective but usually, in hip-hop, we don’t get so much of it all at once. The end result is a more introspective version of Roddy on tracks like “Crash The Party,” on which he rhymes, “The tour life got me in light so I can see / I ain’t never choose this shit, it came to me.” When the song ends on a contemplative recollection of a low point in his life walking through some of the most dangerous hoods in Compton (if you know, you know), he truly conveys the sense of how far he’s come — and how bewildering it can be for someone who once defined his world’s borders by a quartet of freeways.

Here also, rather than aping his influences, he salutes them while striving to distinguish himself as his own unique artist. There are nods to Kanye West’s productions on album intro “LLF” which borrows the hook from Rick Ross’ “Live Fast, Die Young” and the prelude to “Slow It Down,” which brings in Jamie Foxx to reprise his monologue on Kanye’s “Slow Jamz.” Instead of adopting Fivio Foreign’s flow on the New York drill swing “Murda One,” he wrangles the track to his own will, resulting in a better drill track than most New Yorkers have managed in the past two years.

The production here has an expansive, eclectic quality; check out the jazz riffing on “Moved to Miami” with Lil Baby, which lends the gritty content a luxurious sheen. However, Roddy still proves to be adept at coming up with catchy hooks over bouncy, trap-forward stuff as well. On “Don’t I” with frequent collaborator and fellow Thugger student Gunna, Roddy raps some of his cleverest lines, boasting, “Had to put some privacy trees around the villa ’cause I know the nеighbors too nosey,” and dissing “Chatty Patties” on the internet.

All of this growth, of course, bears with it the risk of throwing off fans who perhaps expected more epic production in the vein of “The Box” or Antisocial closer “War Baby,” or lyrics that reflected the itchy, paranoid vibe of the prior album. Instead, they’ll hear Roddy’s thoughts on growing in a relationship, becoming a father, and experiencing real wealth without the penitentiary chances that defined his early output. To those fans, I’d say: Give Roddy’s latest a chance, and it might change your mind as much as its process has apparently changed Roddy.

Live Life Fast is out now via Atlantic. Listen to it here.

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

Spider-Man: No Way Home was released less than three weeks ago, and it’s already the 38th highest-grossing movie of all-time. And rising.

The latest installment in the Marvel Cinematic Universe became the first movie in the pandemic-era to enter the Billion Dollar Club, and only the 49th movie overall. It’s currently wedged between Rogue One: A Star Wars Story and the live-action Aladdin remake, which gives you a sense of how many recent titles are on the list. (Only four movies released before 2000 have crossed the billion dollar mark: Titanic, The Lion King, Jurassic Park, and Star Wars: Episode I – The Phantom Menace. But that’s without adjusting inflation.) No Way Home will continue to dominate the box office for weeks, but even if it doesn’t make a single cent more, star Tom Holland is already in rarified air.

As Forbes reports, 85 actors/actresses have appeared in two billion dollar movies; 34 have appeared in three billion dollar movies; and only 11 have appeared in at least four billion dollar movies. Unsurprisingly, it’s mostly Marvel folks, including Holland:

Robert Downey Jr. – 6 movies
Samuel L. Jackson – 6 movies
Chris Evans – 5 movies
Scarlett Johansson – 5 movies
Don Cheadle – 5 movies
Andy Serkis – 5 movies
Mark Ruffalo – 4 movies
Chris Hemsworth – 4 movies
Jeremy Renner – 4 movies
Lupita Nyong’o – 4 movies
Anthony Daniels – 4 movies

Daniels is there because of Star Wars, while Nyong’o has Star Wars and Marvel and Serkis has Star Wars, Marvel, and Lord of the Rings, but otherwise, that’s a lot of exclusively Marvel. Maybe Uncharted will be Holland’s fifth billion dollar movie (although based on the reception to the trailer, probably not).

(Via Forbes)

Acclaimed director Jean-Marc Vallée, who recently adapted Liane Moriarty’s Big Little Lies for HBO, passed away on Sunday. He was 58. As of this writing, his cause of death is unknown. After taking the reins on Dallas Buyers Club, Vallée became a go-to signature force after delivering Oscar wins for both stars Matthew McConaughey and Jared Leto. After collaborating with Reese Witherspoon and Laura Dern for Wild, Vallée brought the two actresses back together for the all-star cast of HBO’s Big Little Lies, which also included Nicole Kidman, Zoë Kravitz, and Shailene Woodley. He later delivered Sharp Objects, starring Amy Adams, to the network, and the two series have been routinely praised for redefining prestige television dramas.

Via Deadline:

“Jean-Marc Vallée was a brilliant, fiercely dedicated filmmaker, a truly phenomenal talent who infused every scene with a deeply visceral, emotional truth,” HBO said in a statement. “He was also a hugely caring man who invested his whole self alongside every actor he directed. We are shocked at the news of his sudden death, and we extend our heartfelt sympathies to his sons, Alex and Émile, his extended family, and his longtime producing partner, Nathan Ross.”

Following the news of Vallée’s death, the tributes from colleagues and critics began pouring in on social media where the director was praised for his distinctive film and television projects: