“All Too Well,” Taylor Swift‘s most beloved (and best) song, is rumored to be about her relationship with Jake Gyllenhaal. “Rumored” as she never names the actor in the Track Five (because nothing rhymes with “Gyllenhaal”?), but come on. There’s a reason he’s public enemy No. 1 among Swifties on the day that Red (Taylor’s Version) came out — “All Too Well: The Short Film” probably isn’t going to win him any fans, either.
The 13-minute video of the 10-minute song premiered on Friday at New York City’s Lincoln Center 13, where Swift also performed the song live for the first time. Now, the short film can be enjoyed by everyone — except Jake and Maggie, presumably — as it’s available on YouTube. The emotional part-music video, part-domestic drama tracks the relationship between Stranger Things standout (and Swift mega-fan) Sadie Sink as Not-Taylor and Dylan O’Brien as Not-Jake; there’s also a surprise cameo at the end.
Swift, who directed the short, told Seth Meyers that if Sink had said no to the role, “I don’t think I would’ve made it. I don’t think I would’ve made the film. I think I would’ve just been like, this is a sign.” You can watch “All Too Well: The Short Film” above.
After dropping a teaser trailer last week for “La Fama,” Rosalía and The Weeknd have delivered on their promise in spades. The first song off of Rosalía’s Motomami, due out in 2022, “La Fama” arrives with a video that’s both deadly and metaphoric.
“Good evening ladies and gentlemen,” actor and taco entrepreneurDanny Trejo says to an opulent club crowd as the video begins. “I want to introduce the following number. But I must warn you, she’s not for everyone. She will pierce your heart and she will be your only obsession! So get ready for some heat… La Fama!”
But this is no ordinary club, this is a decadent cabaret where people snort diamonds and sip gemstone martinis. Rosalía is the titular “La Fama” singing and dancing seductively and setting her crosshairs on The Weeknd, sitting front and center. His high-pitched voice joins her in Spanish as he rises to heed her siren call. They get closer and closer, and just as their lips are about to meet, she kills him.
“I wanted to write, in my own way, a bachata with a little story around ambition,” Rosalía said in a statement. “Taking as a reference the lyrics of Ruben Blades or Patti Smith and the songs of Aventura, I ended up writing a story of romance with fame.”
The video and the song’s lyrics are definitely symbolic of an obsession with stardom, something that both Rosalía and the Weeknd have experienced a lot of. It’s a cautionary tale to the endless thirst traps surrounding the entertainment industry. And as the lights dim, Rosalía poses for applause while The Weekend lays lifeless and Trejo punctuates what we just witnessed: “Don’t forget, be careful what you wish for!”
Emily Ratajkowski recently threw down a convincing theory about how “only other men” are confused about Pete Davidson’s attractiveness in the eyes of women, and she’s here to level the field on a more serious subject. That would be her revelation (as published in her My Body memoir) that Robin Thicke groped her on the “Blurred Lines” set, an account that was backed up by video director Diane Martel, who cut the shoot short after the incident. Emily visited with Trevor Noah on The Daily Show, where she revealed what she’s gained in perspective from that experience.
Let’s just say that she likely did not set out to level Robin Thicke with her declaration, but that’s still part of the effect because her take is incredibly effective. She suspects that maybe Thicke felt powerless on the set (which was run by a female director and filled with women owning their sexuality, contrary to the song’s lyrics) and was acting out as a result. Yup, she said this, and Emily totally took the high road while responding to Noah’s question on how she views the experience through the lens of time:
“I think that I’m really not interested in blaming individuals. I think that we live in a culture that allows a lot of these situations to occur. [Not just in] professional settings but on dates. Again, not to beat the horse, but power dynamics is what I’m interested in talking about and really revealing because I think that, in some ways, maybe that was like an attempt at leveling the power for him, and I think we need to look at how many this culture if bad for both men and women.”
Again, Emily did not appear to set out with the intent of making Robin Thicke look like a disempowered presence on his own video set, but oh boy, that’s how it’s looking now. And it’s a powerful move on her part to make this observation, and it’s completely her prerogative to look at the situation as reflective of the whole culture. The entire The Daily Show interview is a fascinating one, and it began with Noah admitting, “This is one of the most interesting and complicated books I’ve read about the subject.”
From there, Emily discussed what empowerment really means and how our culture has commodified women. She sees this as extreme in society, to the point where the OnlyFans back-and-forth on whether to ban explicit material was a way for someone to attempt to take power from those women. She compares that situation to the “Blurred Lines” video, and she further says, “Every woman can relate to the experience of getting dressed and knowing, you know, sort of the negotiation of how tight to I want my shirt to be? How, you know, much do I want to cover up?” Emily Ratajkowski gets it.
Contrary to some of the chatter online surrounding the release of Netflix’s new movie, The Harder They Fall, multiple hip-hop generations have a strong affinity for the Western. Consider that one of rap’s earliest music videos, Juice Crew’s “The Symphony,” revolves around a Wild West theme. Another, Kool Moe Dee’s “Wild Wild West,” made the connection plain, as did Will Smith’s redux over a decade later on the soundtrack of the film of the same name.
So it’s no surprise that The Harder They Fall — directed by Jeymes Samuel, aka The Bullitts, a musician and music video director for Jay-Z, one of the film’s producers who also appears on the excellent soundtrack — plays more like a long-form music video in the vein of Beyonce’s The Gift than it does genre staples like A Fistfull Of Dollars or The Good, The Bad, And The Ugly. Although it’s an important film in terms of representation of Black cowboys — who were actually just as prevalent as any other ethnicity — its true strength is as much in its soundtrack and visuals as its off-kilter storyline and mixed-bag performances.
Intriguingly enough, The Harder They Fall is far from the first movie to feature Black cowboys. In fact, it’s not the first one on Netflix this year, nor is it Samuel’s first effort. Those distinctions go to Concrete Cowboy and They Die By Dawn, respectively, although the former was a modern movie rather than a Western and the latter saw limited distribution (although, intriguingly, it also featured a strong emphasis on music, with Erykah Badu playing the same role as Zazie Beets, Stagecoach Mary, and featured another alumnus of The Wire in the late Michael K. Williams, playing Nat Love).
And while there has been much emphasis placed on the true-life inspirations of characters like Mary, Nat, Rufus Buck, Cherokee Bill, and Bass Reeves, the actual story of the films plays out more like the plot of Tombstone, with little of these real-life characters’ actual histories represented here. It’s not quite an affront to fictionalize real peoples’ lives to tell a historical fantasy, but it does feel a bit self-indulgent. The story, such as it is, doesn’t really need to use the names and likenesses of real people, and while it may generate interest in them, so too might have just playing their individual stories straight.
Meanwhile, the story itself is quite thin and feels almost like it was pulled together by committee, culling hot topics from Black Twitter without really putting much effort into making the pieces fit. Particularly, Rufus Buck’s motivations seem like a hazy reference to Greenwood in Tulsa, Oklahoma and Idris Elba’s performance is almost sublimated by the overall focus on Jonathan Majors’ Nat Love and his quest for revenge against Buck, and the film’s biggest emotional twist comes in way too late, after a set of diversions that add nothing to its forward momentum other than possibly providing a small bit of revenge fantasy. That’s fine, but if it detracts from the emotional story you want to tell, it’s really unnecessary.
But the story and the performances feel almost secondary to the visuals. They’re beside the point. The point appears to be to set right the erasure of Black people from the grandiose history of the American West. To that end, Samuels goes to lengths to portray his characters as intelligent, savvy, and beautiful, shooting them against picturesque tableaus of deserts, forests, and steppes. While things tend to get a little bland whenever the characters come to a town, a sequence featuring Stagecoach Mary’s saloon could almost fit in on MTV in its heyday.
Likewise, the film’s soundtrack peppers in classic and contemporary soul and reggae cuts to highlight the characters’ travels and the action scenes. Dennis Brown’s “Promised Land” blares over a scene of Rufus Buck’s gang riding into town, Seal’s “Ain’t No Better Love” soundtracks part of the climactic shootout, and Barrington Levy belts “Here I Come” and “Better Than Gold” as Samuels’ camera glides over twirling six-shooters, swirling gunsmoke, and galloping horses. It almost feels like the cursory storyline beats are just breaks between the bits that The Bullitts really wanted to get to: The musical set-pieces that nearly do enough to justify the film’s existence on their own.
I’d go so far as saying that they could have just been the movie without needing a story, like The Gift and other, similar films that have become almost de rigeur for a certain class of prestige artist — like Jay-Z, whose “Moonlight” video Samuels directed, likely leading to the mogul’s funding of this endeavor. I’m not the first to notice this; Okayplayer’s Latesha Harris noted as much in her own review. Films like The Harder They Fall are needed, but what’s needed more is to get beyond the need for surface representation and to actually tell stories worth telling. The movie can also be a guidepost as well, pointing out how to make those stories look and sound as pretty as possible.
Ed Sheeran stopped by Saturday Night Live for a pair of performances on the late-night show, to celebrate the release of his fourth album =. After he tested positive for coronavirus, many worried that would be unable to perform. Luckily, that was not the case, as he delivered performances of “Shivers” and “Overpass Graffiti.” He also appeared in a sketch for SNL’s edition of The Dionne Warwick Talk Show, with Ego Nwodim as the legendary singer.
The sketch began with Chloe Fineman, who played Miley Cyrus, sitting across from Nwodim. Kieran Culkin, who appeared as Jason Mraz and hosted the episode, and Pete Davidson, who appeared as Post Malone, also sat down on the talk show. But Nwodim’s Warwick seemed to be bored by the guests and said, “I’m sick and tired of interviewing people who aren’t icons.” She then welcomed the real Dionne Warwick onto the show.
“Let me ask you something,” Nwodim says after Warwick takes a seat. “Dionne, why are you perfect?” The 80-year-old singer replied, “My darling, I’m not perfect. I’m just very, very good.” The duo then sang a duet of Warwick’s 1966 track “What The World Needs Now Is Love.”
Warwick thanked SNL for inviting her to the show afterward.
“I had fun at @nbcsnl,” she tweeted. “Thank you to @eggy_boom (ME [laughing emoji]), @Punkiejohnson (as @BrittaniWarrick), and to the writers, cast, and crew. I had a wonderful time with you all.”
Last week, it was revealed that Ice Cube is not vaccinated. And he has no intention of doing so. He even walked away from a comedy movie, Oh Hell No, opposite Jack Black, which would have netted him both $9 million and a winter shoot in Hawaii. What is he thinking? On this weekend’s Kieran Culkin-hostedSNL, the show’s writing room hazarded a guess as to why.
During Weekend Update, Keenan Thompson swung by as the rap legend and movie star to explain to co-anchor Michael Che why on earth he, like Emilio Estevez, is turning down easy money and paid vacations by refusing to take an FDA-approved vaccine to protect himself from a highly transmissible and deadly virus.
“Hey look, man. I’d just rather be myself than take that vaccine, like you other three billion bozos,” Thompson’s Cube replied. When Che pointed out that he’d “lost” a good gig, Cube disagreed. “Not my loss, your loss. Oh Hell No was going to feature the greatest comedy duo of all time: Ice Cube, Jack Black,” he said. “The comedy chemistry, man. You know what I’m saying?”
He then rattled off a list of all the movies we won’t be getting because Cube won’t take some world-saving medication, from a fourth Barbershop, to a Friday prequel (Thursday, natch), to an M. Night Shyamalan twist-a-thon called Uh Oh, Twist Comin’, which has its own novel twist.
Throughout, Thompson’s Cube avoids the question: Why won’t he get vaccinated. But Che had a theory. “So you’re scared of needles, right?” he asked him, to which Cube replied with a sheepish affirmative.
Last month, Dave Chappelle stirred up some controversy with his Netflix special The Closer. Comments he made about the transgender community led to outrage, including from the streamer’s employees. Chappelle did get some support from the likes of 50 Cent and Caitlyn Jenner. 50 agreed with Chappelle about DaBaby’s homophobic comments, which Chappelle semi-defended, while Caitlyn Jenner said Chappelle’s words were “100% right.” Jay-Z also showed Chappelle some love during a recent conversation about the special on Twitter Spaces.
Jay-Z calls Dave Chappelle “brilliant” while speaking on the controversial special “The Closer” pic.twitter.com/khAMFsTyMY
Jay spoke said “true art has to cause conversation.” He admitted that The Closer made him uncomfortable at multiple points but said, “Sometimes it’s going to be abrasive, sometimes it’s going to be off-putting to folks. But it opens up an opportunity to have a dialogue.” Jay later called Chappelle “super brave and super genius. If you spend time with him, he’s brilliant,” adding, “I think he pushed a lot of buttons.”
He continued. “These algorithms allow you to talk to people who agree with you,” he said, adding, “We have to speak to one another when we disagree… Anything that doesn’t have that tension, it’s not going to be real. We had fake conversations all this time before Trump was in office, then we got to see people for who they really were. And then we got to have real conversations.”
Jay also said, “I think great art is divisive. Some people like it, some people hate it. When you’re making great art, you have to be fearless and create something that you believe in. That’s what it’s about.”
Adding Dolly Parton to any project is always a good idea, but it gets even better when it finally completes a long-awaited reunion with her 9 to 5 costars, which is exactly what’s happening on Netflix’s Grace and Frankie. According to a new report, Parton will guest star on the series’ seventh and final season, putting her back on screen with Lily Tomlin and Jane Fonda. Via TVLine:
For the uninitiated: 9 to 5 was released in 1980, and starred Parton, Fonda and Tomlin as the above-mentioned Doralee, Judy and Violet, three working women who decide to get revenge on their sexist boss (played by Dabney Coleman). The movie went on to gross over $100 million at the box office.
At the moment, Parton’s role on Frankie and Grace is being kept under wraps, but she will appear in the show’s final 12 episodes that will drop sometime in 2022. (Four episodes were released early in August to tide over fans.)
When it wraps up its seven-season run next year, Grace and Frankie will have the distinct honor of having the most amount of episodes for a Netflix original series. While Orange Is the New Black is the current record holder at 91 episodes, Grace and Frankie will top that by streaming 94 episodes when the final season premieres. And, now, the show will get to say it had Dolly Parton stop by for a freaking 9 to 5 reunion, so yeah, try and top that, whichever Netflix series is still racking up episodes. (Narcos, maybe? — Nope, that’s not it. It’ll come to us.)
A few weeks ago, Cardi B was licensed to perform a wedding for a lesbian couple for her show Cardi B Tries… but it looks like that license might be coming in handy again sooner than anyone expected. When actor Kal Penn noticed the “WAP” rapper on his flight, he joked on Twitter that he had a dream she officiated his wedding. However, Cardi somehow saw the tweet and seemed into the idea, wondering why the Harold & Kumar actor didn’t say hi — and suggesting that she was open to actually performing the ceremony.
First, why didn’t you say hi! Second, I’m licensed to do that sooo……..let me know. https://t.co/NTGvVdacFY
When Penn responded explaining that Cardi’s “do not disturb” light was on and enthused about the idea, Cardi had just one response: “I’m down I’ll get my suit.”
Kal Penn announced his impending nuptials to his longtime partner earlier this week in addition to officially coming out as gay. In his upcoming book You Can’t Be Serious, he details how the couple unexpectedly became close after his NASCAR fan partner Josh got him hooked on the sport as well.
Meanwhile, Cardi’s interactions with fellow celebrities continue to amuse and delight fans on the internet. Prior to her interaction with Kal Penn, Cardi and Penn Badgley of Netflix’s You had a cute back-and-forth resulting in the two stars swapping their profile pics to photos of each other.
After competing against Adult Swim’s very strong stable of animated voice talent, Tracy Morgan has emerged as the new voice of Early Cuyler in the final season of Squidbillies. The role was originally voiced by Stuart D. Baker, who essentially detonated his career last summer by launching a parade of offensive posts on Facebook, including one where he referred to country music superstar Dolly Parton as a “freak-titted, old Southern bimbo” because she voiced her support for the Black Lives Matter protests.
After being fired from the role, Baker lashed out at Cartoon Network and the makers of Squidbillies while continuing to make some not great remarks about Americans “forsaking your own race.” Via The Wrap:
“I just hope you a-holes are happy you took a good Man and talent down. You succeeded. Be proud that you ruined a person’s life all because of [the] Freak Show called ‘Dolly Parton and BLM.’ Thanks a lot. I gave my best to you assholes for over 30 years. I guess you just love to kick someone when they’re down. That’s so twisted and perverted. Again, thanks! I’m [sic] remember you bastards!”
Clearly, nothing of value was lost as Morgan steps into the role, which was revealed via a video of other voice actors auditioning for the part. When he won, Morgan celebrated the moment by announcing, “I’m Tracy Morgan, and I’m the new voice of Superman.” (He’ll eventually get it right. It’ll be cool.)
The Squidbillies final season premieres November 7 on Adult Swim.
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