Next month will bring the premiere of Tiger King 2, for which Netflix shared a trailer a couple days ago. Ahead of that, though, Joe Exotic is looking for help with getting out of prison and has called on Cardi B for assistance, a call that Cardi recently answered.
On October 21, Exotic’s unverified Twitter account shared a photo of a handwritten note that is addressed to Cardi and reads, “When you see the truth in Tiger King 2 I need you to rally everyone together to be my voice of freedom! Be my hero girl.” Cardi finally saw the post yesterday, as she shared it and wrote, “Wait is this the real tiger king?”
John Michael Phillips, Exotic’s lawyer, responded to Cardi’s tweet, writing, “I represent Joe. He heard about your message from prison. I’d love to put you two together on a phone call next week.” He later added, “I can’t even imagine facilitating the call between @iamcardib and @joe_exotic. That collaboration may make the world explode. Here kitty kitty (the WAP remix) is so 2022. Cardi, I can probably get you on a call with Joe next week. He’s grateful for you taking on Carole early.”
I represent Joe. He heard about your message from prison. I’d love to put you two together on a phone call next week.
I can’t even imagine facilitating the call between @iamcardib and @joe_exotic. That collaboration may make the world explode. Here kitty kitty (the WAP remix) is so 2022. Cardi, I can probably get you on a call with Joe next week. He’s grateful for you taking on Carole early. https://t.co/ePM9yi1OkMpic.twitter.com/Fmz7mHUTDA
Exotic sees an ally in Cardi due to her previous run-ins with Carole Baskin. Baskin shared criticisms about Cardi over the animals used in her “WAP” video, and Cardi responded, “I’m not gonna engage with Carole Baskin on that. Like, that’s just ridiculous, you know? Oh, Lord. Like, girl: you killed your g*ddamn husband.”
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Following the recent premiere of You‘s third season, the hit Netflix series is back at the forefront of the pop culture conversation. Now, we find ourselves here, where Cardi B and star Penn Badgley (aka Joe) have forged a delightful online relationship, which the actor discussed on Jimmy Kimmel Live! last night.
To summarize the situation (which Junkee did well): In a recent interview, Badgley spoke about his admiration for Cardi’s relationship with social media. Cardi was delighted, tweeting, “OOOOMMFFFGGGGGG HE KNOWS ME !!!” From there, the two set their Twitter profile pictures as photos of each other, and Cardi even started pitching an episode of the show featuring herself. Netflix then changed its Twitter bio to read (as it does still), “Petition to get Cardi B to guest star in Season 4 of You!”
Badgley and Kimmel ran through that history, with Kimmel suggesting that Cardi’s name might stand for “Cardi Badgley.” Kimmel wondered if all this means Cardi will find her way onto the show, and Badgley responded, “Well I… I don’t know. I definitely can’t say.” He then noted he heard there’s a Change.org petition to get her on the show, and indeed there is.
Kimmel pressed for more info about the Cardi cameo, going back to Badgley’s answer, saying, “You said, ‘I don’t know,’ ‘I can’t say.’ It can’t be both of those things, can it?” Badgley responded, “I can’t say because I don’t know. I actually don’t know. I’m not being coy.”
Check out the full interview above.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
“And I think it’s gonna be a long, long time” could be a way to describe William Shatner’s wait to actually head into space (at age 90) after his (for all practical purposes) lifelong run as forever Captain Kirk of Star Trek fame. And on this fine Wednesday morning, William Shatner actually made good on his reputation by blasting into space (for real) on Amazon founder Jeff Bezos’ anatomically-shaped rocket. The pop-culture institution and three other passengers finally ended up on the New Shepard vessel, in which they glided into the very edge of space before making a safe touchdown on planet Earth.
Following Shatner’s return to civilization, CNN reports that he grew very emotional after his sub-orbital journey (which included a few minutes of weightlessness). He told Jeff Bezos, “What you have given me is the most profound experience I can imagine.” And it seems that Shatner fans, as well, are feeling similarly. In fact, this day has seen Shatner’s late 1970s Saturn Awards rendition of Elton John’s “Rocketman” go viral. Decades later, the clip’s still as funny and bizarre as ever while featuring a smoking, tuxedo-adorned Shatner — multiple versions of him, even — doing the spoken-word thing. Can we consider this “singing”? Probably not. “Dancing,” though? For sure.
The clip began to heavily circulate during blast-off time, and for good reason.
Few films are as loathed as Cats, the star-studded, bewilderingly misjudged movie take on Andrew Lloyd Webber’s deathless feline musical. But you know who hates it more than just about anyone? Andrew Lloyd Webber. The trauma of seeing one of his most successful shows turned into one of cinema’s biggest farts was so traumatic he even bought himself a therapy dog. But it wasn’t all bad for him. After all, he got to write a song with one of today’s biggest musicians.
As per Variety, the musical theater god recently confessed at an event that he quite liked working “Beautiful Ghosts,” a new song for the movie he composed with Taylor Swift, who played the mischievous Macavity.
“It was one of the few enjoyable experiences [on the film],” Lloyd Webber admitted. “It was probably the enjoyable experience.”
Lloyd Webber called Swift, one of many of the film’s stars who somehow escaped unscathed, a “real pro,” and praised her for digging into the source: T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats.
“One of the things I was quite intrigued by, she got to the essence of what T.S. Eliot was about,” Lloyd Webber recalled. “It wasn’t just a lyric thrown together at all. I did enjoy working with her very, very, very much.”
So, good for him, because otherwise, it sounds like Lloyd Webber didn’t have a good time watching one of his shows massacred. He previously trashed the film to Variety. “Cats was off-the-scale all wrong,” he said back then. “There wasn’t really any understanding of why the music ticked at all. I saw it and I just thought, ‘Oh, God, no.’ It was the first time in my 70-odd years on this planet that I went out and bought a dog. So the one good thing to come out of it is my little Havanese puppy.”
In the meantime, Lloyd Webber can console himself with having been a wildly successful musical impresario for the last several decades, with one of them — The Phantom of the Opera — still playing on Broadway after 33 years. Speaking of bad movie musicals…
With Saturday Night Live’s 47th season underway, Kim Kardashian assumed the duty of host for its most recent episode. She began the night with an entertaining monologue that was received well by audience members. Later on in the night, Kim returned to participate in a courtroom sketch that found her taking the role of a judge while simultaneously playing her sister, Kourtney Kardashian. In the sketch, Kim somewhat delivers decisions on family matters which includes Kylie Jenner’s “overdue” baby, Kendall Jenner’s lack of drama, and Kanye West’s tweets.
In the sketch, Kris Jenner and Khloe Kardashian appear as themselves while other SNL cast members and guests assumed the role of Kardashian family members and friends. Halsey appeared as Kendall Jenner, Melissa Villaseñor as Kylie Jenner, Heidi Gardner as Kim Kardashian, and Mikey Day played Travis Barker. Chris Redd also appeared as Kanye West, Pete Davidson as Machine Gun Kelly, and Chloe Fineman as Megan Fox. All in all, it was an enjoyable sketch that poked fun at the Kardashian family and their friends.
Kim’s monologue was highlighted by her making jokes about her and Kanye West’s divorce earlier this year. “I mean, I married the best rapper of all time. Not only that, he’s the richest Black man in America, a talented, legit genius, who gave me four incredible kids,” she says. “So when I divorced him, you have to know it came down to just one thing: his personality.”
You can watch The People’s Kourt sketch in the video above.
We’re now into the second week of the 47th season of Saturday Night Live, and for this week’s episode, Kim Kardashian took on the hosting duties while Halsey arrived as the show’s musical guest. Kim, along with the rest of her family, are by far one of the most recognizable names in entertainment as they’ve amassed a huge following through several endeavors in the worlds of business, reality television, and more. Kardashian is no stranger to being on camera, so it’s no surprise that she delivered an entertaining and comical monologue to open the show.
One of the highlights came when she joked about her divorce from Kanye West. “I’ve been very blessed in this life, and I’m grateful for everything, honestly, all the ups, all the downs,” she said. “I mean, I married the best rapper of all time. Not only that, he’s the richest Black man in America, a talented, legit genius, who gave me four incredible kids. So when I divorced him, you have to know it came down to just one thing: his personality.”
She continued, “I know it sounds mean, but people keep telling me that comedy comes from truth. And if there’s one thing that I always strive to be, it’s genuine.”
Kardashian also joked about her family’s failed political campaigns, that being Kanye’s run for president and Caitlyn Jenner’s run for governor of California, as well as being “much more than that reference photo my sisters showed their plastic surgeons.”
You can watch the full monologue in the video above.
Cristobal Tapia de Veer composed the music for HBO’s Hawaii-set breakout hit The White Lotus, but the anxiety-causing voices were originally meant for Kanye West.
“I went to his place where he works” in California, Tapia de Veer revealed on the Broken Record podcast, “and then I was trying to understand what he wanted.” But because West is “always talking about a million things at the same time,” he didn’t know what he was there for. It had something to do with Nike and a prototype for a new shoe and “how this Nike shoe relates to music,” so Tapia de Veer started to work on something “really striking” on his laptop. He continued:
“I had those voices and I tried to find a way to play melodies that is really striking, and this happened by accident and I was like, at that point I knew that this was like gold. And I was like, ‘OK, this I’m going to show to Kanye.’ I was there for like a week and I had to leave, and there was problems, and Kanye started firing people and his lawyers and everything was too long… It was a mess”
Anyway, West never called Tapia de Veer back, so when The White Lotus came up, he knew “those tribal voices” would be perfect for the show. “So I went back to my system and started finding the right melody,” he said. Tapia de Veer found it: creator Mike White said that he wanted “music that makes you feel like there’s gonna be some kind of human sacrifice at some point… Cristobal nailed that — and then some.”
You can listen to the Broken Record episode above.
It’s been a bit of a bumpy season for Ted Lasso. The feel-good (but not that good) show about an upbeat (but anguished) soccer coach amassed a ton of Emmys, including star/co-creator Jason Sudeikis. But the new season, which is still rolling out, has been hotly contested, and there’s been talk of a backlash, then a backlash to the backlash, then a backlash to the backlash to backlash, etc. But there’s one person who seems very pro-Ted Lasso: Dolly Parton.
That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do? Start with the 9 to 5 and end with God Only Knows https://t.co/n2eFMTAGaP
It all started when a fan, dealing with the headache that is air travel, tried to overcome his frustrations by asking, “what would @TedLasso do?” The show’s Twitter account — which sometimes trades in motivational sloganeering — responded by asking a similar question of a real-life public figure.
“That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do?” the account posted. “Start with the 9 to 5 and end with God Only Knows.”
The post didn’t tag the legendary country singer-songwriter and actress. But she found it anyway and responded.
You’re too sweet, @TedLasso!” Parton wrote, adding, “I heard you left some @AFCRichmond tickets at will call under my name?” (That’s a reference to the team Lasso coaches.)
Twitter can be a hellscape of fury and paranoia, but sometimes you get a beloved musician trading jokes with a fictitious character. And people ate it up.
Can you imagine a #tedlasso episode with the Queens of country music @DollyParton and @reba both showing up at @AFCRichmond claiming their tickets? That would be amazing!
For some reason, TMZ thought it’d be a grand idea to find out what Bill Cosby thought of the recently concluded R. Kelly trial. The disgraced R&B singer was found guilty this week of an extensive list of crimes including racketeering and sex trafficking. The equally disgraced comedian, whose own 2019 conviction for sexual assault was recently overturned by the Pennsylvania Supreme Court on a technicality, gave a comment through his spokesperson Andrew Wyatt.
Asked by one of TMZ’s seemingly omnipresent flock of cameramen what Cosby thought of the result of Kelly’s trial, Wyatt said, “We talked about it today and the first thing he said, he was like, ‘Look, the guy was railroaded.’”
Of course, in both cases, massive amounts of evidence were given of the two stars’ deeds. In Cosby’s case, dozens of women came forward to give testimony that he had a pattern of drugging women to have sex with them — something Cosby himself admitted to doing in 2005. Cosby’s recent conviction was overturned thanks to a “non-prosecution agreement” made by prosecutor Bruce Castor. When new witnesses came forward, another prosecutor pushed for a second trial before the statute of limitations on the crimes expired.
Likewise, Kelly previously dodged justice when the defendant in his 2008 rape case refused to testify — but that opened the door for the new case, in which Kelly was accused of running a criminal empire that allegedly intimidated and bribed witnesses, paid to have documents faked so he could illegally marry a teenaged Aaliyah, and coerced a number of girls and women into having sex with Kelly and members of his entourage.
Naturally, plenty of observers on Twitter are only too aware of the details of both cases and had plenty to say about it. See responses to Cosby’s thoughts below.
“One of the special things about our friendship is, nine times out of ten we are on the same wavelength,” Solange told the New Yorker when asked about working with music video director, Melina Matsoukas. “Her being a black woman being able to tell those stories in such a bold, unique way is really rare.” Black women, like Matsoukas, are outnumbered, often overlooked, and frequently pigeonholed in the music industry. This is particularly true for the world of music video direction and storytelling, where roles available to Black women often reinforce stereotypes and typecast them as video vixens or background characters in stories that don’t reflect their experience.
However, when the person behind the direction, story, or camera of a music video is in fact a Black woman, the ability to tell more nuanced and multifaceted stories, or reach the same “wavelength” of Black artists that Solange described, is more readily available. From Beyoncé’s “Formation” to Drake’s “God’s Plan,” the following five women have proven the necessity of Black direction in Black storytelling. Through their creative direction, skill, and unique perspective, they have not only told the authentic and artistic stories of artists through the music video format but made space for the Black female directors and creatives to come up behind them.
child.
Director and artist child. grew up surrounded by music in Shreveport, Louisiana, thanks to her churchgoing family and mother who child. shares “used to color and listen to gospel music while I was in her womb.” That foundation of art and spirituality never left her, pushing her into a career as a photographer and creative director. Leaning into her upbringing, and bringing dreamlike imagery to her work in videos she’s directed for Big Sean, Janelle Monáe, Nas, and H.E.R., child. draws inspiration from the Black experience, biblical stories, and even artists like Jean Michel Basquiat. Though her work pays homage to her past, child. has her eyes set on the future, sharing, “I plan to impact the art world like nothing they’ve ever seen before. I see myself going beyond the stars.”
Lacey Duke
Growing up in Toronto, Lacey Duke knew she wanted to be a music video director. She conquered her dream step by step, attending film school, then interning at a production company in London, and eventually moving to New York where she worked with smaller artists. But then, hard work crossed paths with opportunity when she met Janelle Monáe after a show. Eventually, Monáe asked her to direct her music video for her track “I Like That,” launching Duke into a career where she’s brought authentic portrayals of Black womanhood onto the small screen. Since then she’s directed award-winning videos for SZA, Bryson Tiller, and H.E.R. Speaking to Complex about her work with Black women, she shared, “I have a responsibility in a sense, and I don’t feel pigeonholed by it at all. I think there’s something beautiful about my subjects just being black women, that’s not some little shit.”
Karena Evans
Known for her cinematic, authentic, and narrative-heavy visuals, music video director Karena Evans got her start at a Toronto-based film school but eventually dropped out after getting frustrated by the curriculum’s slow pace. So, she took matters into her own hands, shooting a cold text to Canadian filmmaker Director X and landing an internship at his production company. That longshot paid off, and now she’s known for directing several of Drake’s music videos, including the altruistic “God’s Plan,” the fun-centric “I’m Upset,” and the star-studded “Nice for What.” Evans also understands what her work means to up-and-coming Black female directors and the importance of making space for those creators. She told Teen Vogue, “I think the first thing to realize is that there are in fact a lot of female directors. There are a lot of women of color who are here and present. The unfortunate part is that we were not always given a place. It took the Melina Matsoukas, the Ava DuVernays, and others who have paved the way for me, and the next generation of young Black female filmmakers, to help us understand that we do have a place, and to also break down those barriers so we can be heard.”
Melina Matsoukas
Melina Matsoukas’ resume speaks for itself, she’s responsible for creating some of the most critically acclaimed and award-winning music videos of the past decade. She’s brought her blueprint to Rihanna’s MTV Best Music Award-winning video for “We Found Love,” (she was the first female director to receive this honor) Solange’s “Losing You,” and even nabbed a Grammy for her direction of Beyoncé’s “Formation.” She’s also known for highlighting the Black experience through her film work, including her debut Queen & Slim. Matsoukas is credited for executive producing and directing Issa Rae’s successful HBO series Insecure, which notably gives an authentic, positive, and culturally resonate portrayal of Black women. In speaking on her career thus far, Matsoukas told Rolling Stone, “I am who I am because of Black women,” adding, “We’re beginning to redefine our community — and hopefully our version of Hollywood.”
Laurieann Gibson
Laurieann Gibson may be known for her choreographing dance numbers for legends like Michael Jackson and Beyoncé, but her focus on creative direction has also allowed her to become a successful music video director. Her direction credits include Lady Gaga’s “Judas” and “You and I,” and Keri Hilson’s “The Way You Love Me.” Gibson, who has appeared on multiple reality shows providing straight-forward dance direction, is cognizant of how her experience has differed from her white counterparts. She spoke to The Grio, about how her intensity as a Black woman is often seen as intimidating, sharing, “I absolutely have endured the lack of fairness as a young Black woman and as a professional woman. There is a difference. When we react or we are dramatic or intense then we’re intimidating.” She added, ”It is really difficult and I have had to find a way to evolve the conversation. Yes I’m intense because I’m passionate.“