‘Grey’s Anatomy’ cast offers hope for couples of Grey Sloan

I do the same thing in my life, I try not to look down the road too far because we’re going to miss what happens right now today… I try to enjoy every moment with an open heart and an open mind… Life will tell me where I”m going. Minnick (Marika Domińczyk) — well, except for Arizona, who has found romance with the new doc after ex-wife Callie (Sara Ramirez) moved away last season. “It’s been wonderful to play a character that’s polarizing,” he says. “I would respect it, but I think it would be sad because all men know that it’s impossible to be a great man without a good woman by your side.” Whether Meredith and Riggs explore a relationship or not, Henderson hopes we’ll get much more information about his character soon. “He wants to marry her,” Chambers says. Who knows? He’s waiting and he loves her and he’s tortured and we’ll see what happens.”
What’s next for Jo and Alex? “Owen’s really struggling. “For a long time, being one version of herself was the right way to do things.” Judging by this comment, it sounds like she may try to shake things up soon. “I honestly think the main takeaway is that these two people, there’s so much love there, there’s so much respect there, they know each other so well, so whether it continues toward romance or stays platonic, we know these two people are going to be OK,” Drew says. The cast of the ABC medical drama gathered at PaleyFest Sunday afternoon for a panel moderated by EW’s very own Henry Goldblatt. “There’s this mystery and enigma as to, ishe a good guy, is he a bad guy? “Major life events like this enable you to shift your perspective and reevaluate what’s important to you,” McCreary says. When asked what she thinks about the future of the show and where she’d like to see Meredith end up, Pompeo says, “Maybe why I’ve been able to do this show for so long is because I try not to have expectations. When asked whether he’d like Alex to end up with Jo or with — twist — Meredith, Chambers says, “Anything is possible, especially on Grey’s Anatomy. “Women have to stick together,” Pompeo says. The future of Meredith and Riggs: While it looks like the duo might be heading toward an actual relationship, the question remains how Maggie will feel about that since she’s harbored feelings for Riggs since last season’s finale. Though this was the actress’ first time directing, she notes that she wasn’t nervous about landing the emotional weight of the Maggie-centric hour, but rather just the technical aspects. Here are the highlights:
Pompeo’s directorial debut: After screening the upcoming Pompeo-directed hour, the actress credited Allen with getting her to direct her first episode. Ellen Pompeo, Justin Chambers, Kevin McKidd, Caterina Scorsone, Jerrika Hinton, Kelly McCreary, Jason George, Chandra Wilson, James Pickens Jr, Jessica Capshaw, Jesse Williams, Sarah Drew, Martin Henderson, Giacomo Gianniotti, and executive producer Debbie Allen revealed scoop about the upcoming Ellen Pompeo-directed hour, whether there’s hope for Jackson and April, if Meredith will finally take the next step with Riggs, and much, much more. Their relationship status is currently marked “it’s complicated” since Amelia now no longer wants to have kids, which is basically the one reason the relationship between Owen and Cristina (Sandra Oh) didn’t survive. “This force of nature wouldn’t take no for an answer, and I’m forever grateful to her for that,” Pompeo says. Show Full Article After a steamy hookup in Montana, there’s hope that Japril   might get back together, but Drew stays relatively coy about the future. Though the two have been on the outs since Alex beat DeLuca within an inch of his life, now that Alex knows that Jo was married to an abusive man, he understands why she was hesitant to marry him. ET on ABC. “It’s been interesting, it’s been new,” Capshaw says, explaining that the show got to a point last season where viewers could “happily permit both of them to be happy without each other,” hence paving the way for Arizona’s new romance with Minnick. “I find myself at a point where there’s something exciting happening for her, there’s a newness. Can the couples of Grey’s Anatomy survive? He might end up with Catherine. I’d like to see how it fleshes out, the relationship with him and Jo.”
The relationship at the center of “Civil War”: Ever since the show introduced a replacement for Webber, the hospital has been at odds over Dr. He’s a very tortured guy — he thinks the thing that’s going to fix him is to have a family with this woman, but she doesn’t want to right now. This season I feel like is the beginning of creating something new.” However, Capshaw hedges, “I have no idea if she’s the one.” For what it’s worth, when asked what her favorite ‘shipper name on the series was, she says, “I think I have to go with Calzona.”
The future of Grey’s? “I have the best cast in the world,” Pompeo says. “He desperately wants a baby,” McKidd says. I don’t want to think about what’s next, I want to enjoy this moment.”
Grey’s Anatomy airs Thursdays at 8 p.m. … As an actor, after a couple seasons on the show, I’m looking forward to the opportunity for Nathan to be a in a relationship — whether it’s platonic or not   — to see who he is deep down.”
Will Jackson and April reconcile? However things shake out, her mother’s illness is certainly going to affect Maggie. And if Mer did choose her sister over Riggs, Henderson says he’d understand. “I wasn’t really afraid of anything.” However, Pompeo adds directing herself was “not fun, but I was lucky to have Debbie Allen right with me every step of the way, so when I was tired or confused, she jumped in.”
Maggie’s mom returns: LaTonya Richardson Jackson returns as Maggie’s mother ahead of the Pompeo-directed episode, therefore setting up the episode to heavily feature her treatment for breast cancer — so yes, Maggie will finally be in the know. As for whether Jackson’s father, Robert Avery (Eric Roberts) will return, Williams says, “I hope so.” Adds Allen: “We planted a lot of seeds this season, and that’s one that could resonate in a lot of ways, but there’s more coming.”
Can Amelia and Owen’s relationship survive?

15 great covers of Chuck Berry classics

Goode” riff as a pre-chorus bridge. Louis to Liverpool to capitalize on young audiences obsessed with bands like the Beatles. Goode” soars with   the arena-ready grandiosity of late ’80s heavy metal. Hendrix’s   most commonly cited rendition of “Johnny B. Goode.”
Peter Tosh, “Johnny B. Paul McCartney, “Brown Eyed Handsome Man”

On 1999’s   Run Devil Run, Paul McCartney’s first album after the 1998 death of his wife, Linda, the former Beatle returned to the ’50s and ’60s songs that initially informed his writing style. LL Cool J, “Go Cut Creator Go”

As hip-hop beatmakers dug through dusty record crates to repurpose vintage soul and blues for the burgeoning genre,   they inevitably turned to Berry’s beloved riffs. Singer-guitarist Bob Weir led the charge on Berry cuts, which the Dead often used to open and close sets. Goode”

Judas Priest’s   barreling “Johnny B. The Beatles, “Roll Over Beethoven”

As the Fab Four came into their own as songwriters, they recorded definitive versions of tracks penned by Berry, Smokey Robinson, Barry Gordy, and more. It also helped bring Berry’s music to fresh audiences: In November 1964, Chess Records reissued some of his tunes as St. 35 on the U.K. Their take on “Roll Over Beethoven” first cropped up on With the Beatles, their November 1963 British release, before American label Capitol Records slotted it as the opening track on The Beatles’ Second Album six months later. And audiences ate the cover up: Priest’s 1988 recording of the tune reached No. Emmylou Harris, “(You Can Never Tell) C’est La Vie”

Replete with fiddles and steel guitars, the lead single off Harris’ 1977 album,   Luxury Liner, is one of country music’s great tributes to Berry. Recorded three-and-a-half decades after the Beatles put their spin on Berry’s “Roll Over Beethoven,” McCartney captured a completely different vibe, loading the cut with accordion for a breezy, Cajun feel. Elton John, “Johnny B. Show Full Article Singles Chart. And clocking in at over eight minutes, that’s just the first stop on the band’s wild cover, which blends daring string arrangements and blaring brass with   the piano, guitar, and vocal melodies of Berry’s original. While in the Wailers with Bob Marley, Peter Tosh would cover James Brown and Curtis Mayfield — and he’d continue honoring American artists when he went solo. Jimi Hendrix, “Johnny B. The Stones’   1963 debut single, “Come On,” was a Berry original; their take on Berry’s “Carol,” off their eponymous 1964 debut, was an early showcase for Mick Jagger’s howl. Though songs by Johnny Cash, Willie Dixon, and Merle Haggard also became staples of their sprawling live shows, Berry’s tunes were the most commonly covered by the Dead. Goode”

John’s 1979 album   Victim of Love is something of an outlier in his catalog. Both breezy and bracing, Harris’ cover confirms   the kinship between Berry’s foundational rock and country music; her recording hit No. When The Great Rock ‘n’ Roll Swindle, a 1980 film starring the Sex Pistols that exaggerated their origin story, hit theaters, frontman Johnny Rotten had already left the group. Goode,” hobbyist statisticians estimate the band performed the rocker’s songs upwards of 1,100 times. It later appeared on the 1972 live album   Hendrix in the West and   hit No. With vocals from George Harrison, “Roll Over Beethoven” garnered moderate chart success, peaking at No. Sex Pistols, “Johnny B. 6 on Billboard’s country singles chart. On their second album, symphonic   art-rockers Electric Light Orchestra took Berry’s wordplay literally, opening their 1973 version of “Roll Over Beethoven” with an orchestral rendition of the famed opening of the German composer’s Fifth Symphony. Ward, “Roll Over Beethoven”

The indie-folk artist has consistently revived vintage rock and country sounds, and his ebullient, scuzzy take on “Roll Over Beethoven,”   released as a B-side to his 2012 single “Primitive Girl,” demonstrates how the fundamentals of Berry’s style continue to influence the genre a half-century later. Goode”

When they weren’t going on cosmic explorations of their own, the Grateful Dead were devoted students of folk, country, and early rock and roll. Grateful Dead, “Around and Around / Johnny B. 68 on the Billboard Hot 100. Goode”

Berry’s music informed genres beyond rock and its derivatives. Goode”

The pop-punk trio has long played decades-spanning medleys at their concerts, covering artists from Jefferson Airplane to Journey to Guns N’ Roses. Goode”

Before becoming a superstar, the guitar god served as a sideman on the Chitlin’ Circuit for Berry-adjacent acts including the Isley Brothers and Little Richard. “It shaped everything I did after that, subconsciously, for the rest of my life,” Armstrong said. He also loosely interpreted Berry’s lyrics for his own, autobiographical verses: “Way back in the days before I clocked some dough / I used to go to the show and sit in the front row.”
Judas Priest, “Johnny B. Here are   15 of the best covers of Berry classics by artists ranging from the Beatles to LL Cool J. The Rolling Stones, “Carol”

“Best Chuck Berry cover” could be the first point of contention in the eternal Beatles versus Stones debate. As British artists were appropriating American blues and rock, Jamaican musicians were drawing on jazz and rhythm and blues to form the style that would eventually become reggae. Chuck Berry’s musicianship and charismatic performances make up only part of his legacy: His tunes also formed the bedrock of America’s rock and roll songbook. Goode” occupies a special place in frontman Billie Joe Armstrong’s heart: Last year, he   told EW   it was the first song he learned to play on guitar. With its breakneck tempo and explosive Mick Ronson guitar solo, the cut epitomizes Bowie’s early ’70s style and matches stylistically with tunes like “Suffragette City” and “Panic in Detroit.”
Electric Light Orchestra, “Roll Over Beethoven”

As rock and roll transitioned into the sonic experimentation of the ’70s, so did Chuck Berry covers. Goode,” from a May 1970 gig months before his death, is chock-full of the six-string acrobatics on which he built his name. It’s his hit-or-miss take on the disco craze and opens with a bizarre cover of “Johnny B. Goode”

Like many of rock’s pioneers, Berry was   seen as a rebel   by older generations — so it’s logical that subsequent musical firebrands would find inspiration in his music. 47 on Billboard’s Mainstream Rock chart. Goode” off 1983’s   Mama Africa,   Tosh updated its lyrics (“Deep down in Jamaica, close to Mandeville”) and transformed the tune from a tightly wound ditty into a brassy dub jam. But “Johnny B. Like their rivals, the British   rockers honed their craft covering American artists, and their interpretations of Berry songs are essential components of their history. But filmmakers salvaged vocals from the punk icon’s demos for the soundtrack, including his snarling, profanity-laced version of “Johnny B. David Bowie, “Round and Round”

Originally recorded in 1971 during the Ziggy Stardust sessions,   Bowie released   his version of “Around and Around” (with a slightly altered name) as a B-side to   Aladdin Sane single “Drive-In Saturday” in 1973. For   “Go Cut Creator Go” off his 1987 album   Bigger and Deffer, LL Cool J deployed the “Johnny B. Sure, there are the soulful backing vocals, wailing saxes, and molten   electric guitars that defined John’s best work — but there’s also funky bass over a   Saturday Night Fever-worthy rhythm track. For his interpretation of “Johnny B. Between “The Promised Land,” “Around and Around,” and “Johnny B. M. The legendary musician, who died Sunday at the age of 90, wrote enduring songs that have been interpreted by luminaries of the British Invasion, punk and heavy metal powerhouses, and hip-hop beatmakers. Green Day, “Johnny B. They’d later perform a chugging rendition of the tune on the 1970 live album   Get Yer Ya-Ya’s Out! Goode” that tops eight minutes.

America Ferrera backs LGBTQ rights, praises Lena Dunham at HRC gala

Watch the full one here https://t.co/t8Wh1bd4nK pic.twitter.com/tz2X90Oqoy
— HumanRightsCampaign (@HRC) March 19, 2017

Ferrera was introduced at Saturday’s event by her friend and fellow activist Lena Dunham. Not just in the media but in schools, hospitals, boardrooms, halls of power. “It is how most of us learn what is possible for us, what our place in the world is. Every single one of us. Too often we have to spend so many years unlearning what culture has taught us about who we are or ought to be, but It doesn’t have to be that way. “Anything I ever did for the rights of this community I did because I believe — with every fiber of my being — that my liberation is bound up in the liberation of my LGBTQ brothers and sisters, and in the liberation of my black brothers and sisters, and in the liberation of immigrants, and refugees, and Muslims, and Sikhs, and women all over the world, and the incarcerated, and the criminalized, and the uneducated, and the poor, and the hungry,   and, and, and, and, and.”
The publication indicates the capacity crowd inside the city’s   JW Marriott hotel erupted with applause at Ferrara’s comments. Attendees eventually rose to their feet to give the actress a standing ovation in the middle of her 12-minute speech. We can leave the next generation with a better reflection of their innate worth and their inherent power simply by claiming and living in our own power.”
Later that night, pop icon Katy Perry received the group’s   other major prize: the HRC   National Equality Award. We know that it makes all the difference to see ourselves reflected by culture with dignity, with humor, with compassion,” she said. To call you sister, mentor, and friend… to receive this award from you tonight is a profound honor for me.”
Before bringing her high school drama teacher, Sue Freitag, to the stage to thank her for creating a “safe space” for her throughout her formative years, Ferrera spoke about the importance of minority inclusion. Speaking at the Human Rights Campaign’s Los Angeles gala on Saturday night, the Superstore   star and activist championed LGBTQ rights as she accepted the advocacy organization’s   Ally for Equality Award, one of two major accolades handed out to celebrity attendees throughout the evening. Great sister moment between @AmericaFerrera @lenadunham #HRCLADinner pic.twitter.com/G8dvyeN6W6
— Chris Gardner (@chrissgardner) March 19, 2017

“We know that representation matters. We know this. “She was determined to be a part of history and a part of the democracy, and to never, ever be erased from the narrative. “Anything I’ve ever done on behalf of the LGBTQ community, I did in service to myself,” Ferrara said, according to The Hollywood Reporter. .@AmericaFerrera moves the crowd to their feet during her acceptance speech at #HRCLADinner. America Ferrera is shedding some grace on the community that helped to shape her perspective on equality for all. The next morning, through tears, she told me and she told our friends that we could not stop fighting. During her acceptance speech, she spoke about her Christian upbringing, during which she’d been “taught to fear” gay people, though she ultimately grew to accept them as “the most free, strong, kind, and inclusive people” she’d ever met. "We are being called as allies to resistance but also as allies for sustenance."- @AmericaFerrera #HRCLADinner @HRC pic.twitter.com/rAItwm3faw
— Chris Gardner (@chrissgardner) March 19, 2017

Show Full Article We can change that. “America stayed,” Dunham said of Ferrera’s willingness   to stand up for her beliefs in the wake of Clinton’s loss. And America’s friends would do anything for her and so we won’t.”
RELATED VIDEO: America Ferrera joins the Women’s March on Washington

Returning Dunham’s sentiment, Ferrera said: “I have never met another artist more eager to lift up the voices of her sisterhood… I would’ve been content to admire you from afar and to gaze at your face on my vision board for the rest of our lives. The pair last shared a public stage at the Democratic National Convention in July, where they supported presidential candidate Hillary Clinton.

Box office report: ‘Beauty and the Beast’ passes ‘Batman v Superman’ for March record

1 – Beauty and the Beast – $170 million
2 – Kong: Skull Island – $28.9 million
3 – Logan – $17.5 million
4 – Get Out – $13.2 million
5 – The Shack – $6.1 million
6 – The LEGO Batman Movie – $4.7 million
7 – The Belko Experiment – $4.1 million
8 – Hidden Figures – $1.5 million
9 – John Wick: Chapter 2 – $1.2 million
10 – Before I Fall – $1 million

Show Full Article 8. 3 is James Mangold’s Wolverine sendoff Logan, which sees Hugh Jackman making his final turn as the iconic comic book character. Disney’s live-action remake of the beloved 1991 animated classic roars to the top of the domestic   chart   this weekend, amassing a spectacular estimated $170 million from 4,210 theaters — averaging $40,380 per location to notch the highest debut for a March title in history. Per comScore, overall box office is up approximately 5.8 percent from the same period last year. Coming in at No. and Canada). It’s a tale as old as time,   but Beauty and the Beast‘s   new box office record is as fresh as can be. The modestly budgeted flick falls in line with previous BH Tilt releases that have been aimed squarely at horror fans, with the label   even going so far as to slot the film only in theaters that have been historically frequented by diehard genre   aficionados. Outside the top five, BH Tilt and Orion’s The Belko Experiment meets industry expectations with an estimated $4.1 million at No. Worldwide, Beauty and the Beast   ropes in an excellent $180 million, which brings its global total to $350 million after just three days, additionally trumping studio sibling   The Jungle Book‘s IMAX record for a PG-rated film ($21 million worldwide vs. The film falls to an estimated $17.5 million across its third three-day frame, boosting its global number to $524 million to date. Rounding out the top five are Jordan Peele’s horror-comedy hit Get Out,   which bags $13.2 million ($133.1 million on a $4.5 million budget) at No. $20 million worldwide, respectively) on 1,026 formatted screens. RELATED VIDEO: Luke Evans and Josh Gad sing ‘Gaston’

Slipping around 53 percent to No. 2 is Legendary and Warner Bros.’ latest entry in the King Kong franchise, Kong: Skull Island, which adds a further $28.9 million to its growing $259.3 million global total ($110.1 million in the U.S. Though the summer movie season has yet to begin, 2017 has seen seven films cross the $100 million domestic mark thus far. 4, and the faith-based drama The Shack, which tallies $6.1 million ($42.6 million) at No. Its North American total now stands at $165.6 million on a $25 million budget. The $160 million Bill Condon production bests the $166 million total posted by previous record holder   Batman v Superman: Dawn of Justice   just under one year ago. Theodore Melfi’s Oscar-nominated drama Hidden Figures continues its impressive box office run this weekend, spending its 11th weekend inside the top 10 as it rakes in a further $1.5 million at No. Check out the March 17-19 weekend estimates below. 7. 5. Elsewhere, two of contemporary cinema’s foremost auteurs make appearances on the specialty market, as the Danny Boyle-directed Trainspotting sequel bows to a solid $180,000 from five locations for a per-screen average of $36,000, while Terrence Malick’s latest film, Song to Song, pulls in $53,945 from four theaters — his worst limited opening since The New World hit three sites with $30,864 back in 2005.

Stephen King’s ‘The Dark Tower’ movie gets a teaser poster

Apparently, the movie is sticking with its summer debut date even though no trailer has been released for it yet. Even more intriguing than the image itself is something written off to the right: July 28. The film stars Idris Elba as a roaming knight known as Roland the Gunslinger, who is on a mission of revenge against the Man in Black, a sorcerer played by Matthew McConaughey. Below, listen to EW’s interview with the author and Arcel back when the movie was just about to begin filming. Come with us on the adventure.”

Pilgrim, there are other worlds than these. In the new poster for the film, we see the tower rendered in white sky through the space created by Manhattan’s skyscrapers, and the topsy-turvy   nature of the way these universes are connected is evidenced by the Man in Black, upside down at the top of the image. See the new poster above. You can catch up on that full list of stories here. The structure that binds all space and time is occupying negative space in a new poster for the film version of Stephen King’s The Dark Tower. For more Stephen King news, follow @Breznican. (The Dark Tower was originally planned for a February debut, but was shifted to July last year.)

So far, the only major reveals of the movie have been EW’s cover story from last summer. They live   on a plane of existence known as Mid-World, which has tangential relationships to our own, but a boy from present-day New York is having visions of this other place — and the ominous tower that stands at its center. King has godfathered the project, offering edits and suggestions to the adaptation of his sprawling series. #DarkTowerMovie pic.twitter.com/0h0UnMq39i
— Stephen King (@StephenKing) March 19, 2017

This will reassure fans who worried that the lack of promotional materials for the movie may signal another date shift, as discussed in the 2016 video below.  

Show Full Article The movie is directed by Nikolaj Arcel, who also worked on the screenplay with Akiva Goldsman, Anders Thomas Jensen, and Jeff Pinkner. King tweeted the poster himself this morning, adding the line: “Pilgrim, there are other worlds than these. Come with us on the adventure.

Katy Perry talks Christian past at HRC gala, says she was ‘taught to fear’ gay people

“No longer can I sit in silence,” she says. “I stand here as real evidence for all that no matter where you came from it is about where you are going, that real change, real evolution, and that real perception shift can happen, if we open our minds and soften our hearts.”
The pop star added that it would’ve been a lot easier for her to stay the   “whipped-creamed-t–s-springing-poppy-lite-coffee-fun-anthem-animal-totem-singing-girl”   who remained neutral politically. #HRCLADinner @HRC pic.twitter.com/EqnaZEtbU0
— Chris Gardner (@chrissgardner) March 19, 2017

Show Full Article You don’t get to choose your family, but you can choose your tribe,” she said. What I did know was that I was curious, and even then I knew that sexuality was not as black and white as this dress. This article originally appeared on PEOPLE.com. “But how was I going to reconcile that with the gospel-singing girl raised in youth groups that were pro conversion camps? The path of discovery has made me, has tested me, and forever changed me. These people are actually, magic, and they are magic because they are living their truth.”

"No longer can I sit in silence."-@katyperry #HRCLADinner @HRC pic.twitter.com/wJDN8zlbD2
— Chris Gardner (@chrissgardner) March 19, 2017

Although she strayed away from the beliefs of her religion, Perry says   she wouldn’t have chosen a different   path for herself:   “Priceless lessons happen large. “Truth be told, I did more than that!” she told the audience of the2017 HRC Los Angeles Gala   while accepting the National Equality Award on Saturday night. “They stimulated my mind, and they filled my heart with joy, and they danced with joy while doing it. “But in 2008, when that song came out, I knew that it started a conversation that a lot of the world seemed curious enough to sing along to it.”

Perry went   on to detail her religious upbringing (both of her parents are   pastors) and how she “prayed the gay away at Jesus camps.” But soon her “bubble started   to burst” and she   discovered people   who were different from her. When   Katy Perry   released the pop hit “I Kissed a Girl and I Liked It”   in 2008, she says she was starting a conversation with people around the world. “These people were nothing like I had been taught to fear. They were the most free, strong, kind, and inclusive people that I have ever met,” she said. “I have to stand up what I feel is true and that is equality and justice for all, period.”

.@katyperry fights back tears dedicating award to longtime manager Brad.

Father John Misty drops ‘Generic Pop Song’ trio

Show Full Article The tracks making up his “Generic Pop Song” trio do, indeed, sound like pop singles you’d hear on the radio. “#3” comes complete with gang vocals and plenty of clapping; “#9” is a catchy, soaring anthem; “#13” is a piano ballad with clichéd lyrics like “Sometimes I wish I could go right back / Right back to the start of you and me.”

These songs follow previous 2017 releases “Pure Comedy,” “Two Wildly Different Perspectives,” and “Total Entertainment Forever.” His latest album,   Pure Comedy,   arrives April 7. Father John Misty has previously penned songs for pop stars like Beyoncé and Lady Gaga, but now, he’s trying out the genre for himself: The musician dropped three new tracks Sunday titled “Generic Pop Song #3,” “Generic Pop Song #9,” and “Generic Pop Song #16.”
Misty — born Joshua Tillman — talked about his relationship with pop music in a recent interview with Pitchfork, where he said he made a “grotesque foray into this world” of pop by writing for major stars in the scene because he wanted “to know how the sausage was made just out of f–king morbid curiosity.”

“There is nothing   not   wildly audience-tested and calculated about this f–king music,” he said.

Barack Obama pays tribute to Chuck Berry: ‘We’ll miss you, Chuck’

Goode,” and “Carol.”
First responders reportedly   found Berry unresponsive inside his St. Show Full Article Mick Jagger added: “I am so sad to hear of Chuck Berry’s passing. According to a police statement, he could not be revived and was pronounced dead at 1:26 p.m. Be good.”

Chuck Berry rolled over everyone who came before him – and turned up everyone who came after. Chuck, you were amazing [and] your music is engraved inside us forever.”
In addition to spearheading the popularization of rock music, Berry — a   Grammy Lifetime Achievement Award winner and Kennedy Center honoree — was once named   one of the   10 greatest electric guitar players of all time   by TIME   magazine. Charles County home over the weekend. “Chuck Berry was rock’s greatest practitioner, guitarist, and the greatest pure rock ‘n’ roll writer who ever lived,” Bruce Springsteen tweeted Saturday. Be good. President Barack Obama   honored Chuck Berry, who died Saturday in Missouri at age 90, with a commemorative tweet on Sunday morning, noting the famed performer “rolled over everyone who came before him — and turned up everyone who came after.”
He continued: “We’ll miss you, Chuck. — Barack Obama (@BarackObama) March 19, 2017

Obama’s salute to the guitarist and singer-songwriter joins a chorus of other industry figures   who have paid tribute to the genre icon in recent days, including Carole King, Brian Wilson, Joan Jett, and Lenny Kravitz. We'll miss you, Chuck. I want to thank him for all the inspirational music he gave to us. His lyrics shone above others [and] threw a strange light on the American Dream. His legacy also includes the 1972 hit “My Ding-a-Ling” in addition to memorable tunes from the 1950s like “Maybellene,” “Roll Over Beethoven,” “Johnny B. on Saturday afternoon. He lit up our teenage years, and blew life into our dreams of being musicians and performers.

Chuck Berry: Looking back at his 20 best songs

Berry still called it “rhythm and blues” in the lyrics, but any listener can tell he’s playing stone cold rock ‘n’ roll — his volcanic guitar solo at the start has revolution in its soul. 8 on the pop chart, setting off a string of sequels from “Bye Bye Johnny” to “Go Go Go.”
“Carol” (1958)
Originally the B-side to “Johnny B. And no wonder: They were provided by Etta James and Harvey and the New Moonglows, a group that featured a young Marvin Gaye. Like all such compositions, it’s the bastard child of country and R&B, this one with a melody adapted from “Ida Red,” a 1938 Western swing song from Bob Will and His Texas Playboys. It’s manic, skilled, and fated to be iconic. The song became the second biggest hit of Berry’s career, shooting to No. But Berry owned the song by turning his “Johnny B. “No Particular Place to Go” (1964)
A dense plot informs this Berry chestnut from 1964. There’s a great example of it here, emphasized by Berry’s even-toned vocal (in contrast to John Lennon’s full-on shout in the Beatles’ take). Goode” riff into a holiday perennial. The wrinkle comes in the sharp guitar licks, meant to echo the whistle of the train. The recording also gave a wide berth to pianist Johnnie Johnson, who used it to take a virtuoso turn. The music itself also has its own twists, from the questioning guitar line to the loping bass figure. But these 20 cuts capture the heart of his talent and vision best. It’s almost all vamp, elaborated by a burst of fast licks, as well as some of pianist Johnson’s most animated runs. He   The author called out the skyscrapers, hamburgers, and jukeboxes of the nation, all backed by a rollicking rhythm. Show Full Article But there’s more going on than mere brand extension: Berry turned the scenario in the earlier hit on its head. Goode,” this ditty worked off the same teasing riff, though the guitarist added an extended solo that showcased some of his most subtle twists. “Maybellene” (1955)
It all started here. “Roll Over Beethoven” (1956)
Emboldened by the success of “Maybellene,” Berry fired off one of the most hilarious — and ballsy — salvos in pop history: “Roll over Beethoven / Tell Tchaikovsky the news.” The message was that old notions of “classical music” have now been replaced by a new sound. “Let It Rock” (1960)
Here’s another cut that plays off Berry’s patented “Johnny B. It’s the fear of miscegenation Berry tapped into here, treating the subject with subtlety, wit, and determination. Goode” (1958)
Berry got autobiographical in one of his most iconic songs, but changed one lyric from a “colored boy” to a “country boy” to avoid controversy. — in a car, the scenario finds its narrator kissing the object of his affection in various settings, hoping to go further. Goode” riff. “Little Queenie” (1959)
Yes, it’s the same melody and riff as “Rudolph,” but what gives this record its own stamp is the “meanwhile, I’m still thinking” section, a spoken wink to the listener that’s both sexy and camp. The 1959 song got a new life in ’73 when it turned up on the hit soundtrack to American Graffiti. “You Can’t Catch Me” (1956)
Here, “Maybellene” gets another shout-out from the eagerly self-referential Berry. It benefitted, too, from Martha Berry’s backup vocals, which lent the song a bit of soul. In July 1955, “Maybellene” became Berry’s first smash, as well as one of the first true rock ‘n’ roll records. “Reelin’ and Rockin’” (1957)
Berry first cut this ditty back in 1957, but the live version from ’72 gets more explicit about the sex, aided by a rhythm that kicks. In two minutes and 13 seconds, he managed to birth a riot of rock ‘n’ roll touchstones, including the honking guitar cadenza at the start, the vamping vocal cadence in the verses, and a final wild solo every axman in Berry’s wake has nicked. “Run Run Rudolph” (1958)
Okay, so Chuck didn’t write this one — Johnny Marks and Martin Brodie did. a beautiful black man like Berry who appealed to women of every race. “Come On” (1961)
It didn’t even make the lowest rung of the top 100, but “Come On” featured some of Chuck’s most insistent singing. But, it’s later revealed, that’s the name of his daughter, who’s been snatched away by her mother. This time, he’s the who can’t be caught in a speedy car. 2 on the pop charts, a feat sadly beaten only by the silliest record of his career, 1972’s “My Ding-A-Ling.”
“Johnny B. “Almost Grown” (1959)
The doo-wop backup vocals shared the spotlight with Berry’s lead in this track. Johnson’s piano eventually takes the lead, slipping and sliding until it encircles every other sound. In his 90 years, Chuck Berry — who died Saturday in Missouri — recorded hundreds of songs, including 13 top 10 R&B hits and seven pop smashes. “Promised Land” (1964)
The American landscape always inspired Berry, but seldom did he create as detailed a travelogue as the one in “Promised Land.” To match it, the beat chugs like a train, while the star unleashes some of the fastest licks of his career. “Sweet Little Sixteen” (1958)
In this transgressive classic, Berry offers his ode to a school girl who gets dolled up in high heels and lipstick, setting off waves of lust from “Philadelphia PA” to “the Frisco Bay.” The stop-start rhythm gives the song tension, while the madcap keyboards, manned here by Lafayette Leake, match the lyrics in outrageousness. The guitar break remains one of the most quoted figures in rock, as does the single-note refrain. Berry greatly overhauled it with his unique twists on rhythm and blues. Extra points go to listeners who can pick out the lines later lifted by the Beatles in “Come Together.”
“Rock and Roll Music” (1957)
In this salute to the style he helped pioneer, Berry makes special mention of the genre’s “backbeat,” the steady rhythm that never lets him (or the listener) down. “Brown Eyed Handsome Man” (1956)
The star did something complex and subversive with this 1956 B-side to “Too Much Monkey Business.”   In one lyric, he mentions the “whole lot of trouble” caused by a brown-eyed handsome man — i.e. In the end, their sexual release gets messed up by, of all things, a malfunctioning seat belt. Together, they helped shoot the single to No. The galloping music captures his triumph. “Back in the U.S.A.” (1959)
Berry’s salute to his country didn’t focus on the politics but on American culture, as well as on the sheer physicality of its land. It’s the one song where Berry’s car fetish undoes him. A top 10 hit in its own right, “Hours” showcased the nuances in Berry’s vocals, capturing equal parts longing and eroticism. “Memphis Tennessee” (1959)
Also known as “Memphis,” this 1959 classic offered a smart lyrical plot twist: At first, the listener thinks the narrator is trying to reach a lover named Marie. “I Got to Find My Baby” (1960)
A blues stomp penned by Peter Clayton, “Baby” failed to chart but it offered a fine showcase for Berry’s vocal growl. Set — where else? In the track’s attitude, Berry didn’t just advance rock ‘n’ roll: He kinda created punk. The way he bends the strings captures a wry leer as he pursues the elusive Carol. “Wee Wee Hours” (1955)
Flip “Maybellene” over and you’ll find this lowdown blues grinder.

See Lance Bass join Backstreet Boys onstage in Vegas

Show Full Article pic.twitter.com/nnSbUZuIsG
— backstreetboys (@backstreetboys) March 19, 2017

The Backstreet Boys kicked off their Vegas residency — which features a slew of singles from the quintet’s discography — on March 1. In April 2016, Bass and fellow *NSYNC alum Joey Fatone belted a live rendition of the Backstreet Boys’ hit “I Want It That Way,” which reached No. It’s scheduled to end on July 1 after 26 total shows. Thanks for coming by #BSBVegas, brother! 6 on the Billboard Hot 100 in 1999. The Backstreet Boys’ official Twitter account shared a   video that shows Bass hanging out onstage with Nick Carter, A.J. McLean, Kevin Richardson, Howie Dorough, and Brian Littrell while they sing 2000’s “Shape of My Heart.”

We really showed @LanceBass the shape of our hearts tonight. Lance Bass helped shape the pop music landscape of   the late ’90s as part of *NSYNC, and Saturday night, he reunited with another iconic boy band when he joined the Backstreet Boys onstage at their   Las Vegas residency, titled Larger Than Life after their 1999 single. RELATED VIDEO: 8 crazy stories from EW’s Backstreet Boys oral history

Though both BSB and *NSYNC once battled for chart dominance, their perceived rivalry — which Carter previously told BuzzFeed was concocted by a bored media — is seemingly far behind them.

‘This Is Us’ stars debunk Jack death theories at packed PaleyFest panel

Is it a mini tour? “It’s clearly the beginning of a conversation between a husband and a wife,” Brown said of Randall’s newfound desire to adopt, which he previously discussed in   this interview with EW. “When you take the history of the characters into consideration, and that’s the exact same thing that happened to them before, I think that’s a hard sell for Kevin to Sophie to say all is going to be fine,” Hartley explained. While Jack’s death is the big and looming unanswered question, there are plenty of other things to look forward to in season 2, as teased in the final moments of the finale. I think he’s a great guy … and I root for him. Then he credited show creator Dan Fogelman, the writing staff, plus executive producers directors John Requa and Glenn Ficarra with creating “this man who loves his wife, loves his kids, and it’s really as simple as that,” he said, getting visibly emotional. “We got to see Jack from a certain perspective this season, and I think we might get him from another perspective in other characters [next season].”
“There are a bunch of episodes that end in emotion,” Requa joked. “I saw that in my own father,” he continued in a broken voice, “and there’s not a moment in my life that I don’t think about how he raised us, my sisters and I, and what he gave me just as a man.”
The poignant answer wrapped up an entertaining and insightful conversation at the Saturday night panel, which boasted the “biggest turnout for a PaleyFest event,” moderator Kristin Dos Santos of E! “The great thing about the show is it’s kinda like this spider web where we’re able to go off in all directions and delve deep into people,” Ficarra explained, adding that the writers get back to work in June. Does it have to be a baby? “I have an idea in my head — it’s very PG.”
“What a waste of time that is,” McRaney dryly interjected. “I will slap on those prosthetics in two seconds,” Moore excitedly responded. “Is it a coffee shop? He’s just trying to make the relationship withstand months and thousands of miles apart while he goes to Hollywood to be in a Ron Howard movie. As expected, Requa and Ficarra had little to reveal about that last part. While that possibility was quickly disregarded, as was the likelihood of Rebecca intentionally or Kate accidentally killing him, one stood out to the crowd: the theory that Jack dies in a plane crash. Brown (Randall), Justin Hartley (Kevin), Chrissy Metz (Kate), Chris Sullivan (Toby), Ron Cephas Jones (William), and Susan Kelechi Watson (Beth), as well as surprise guests Gerald McRaney (Dr. … because if he’s 16, it’s like…”
Meanwhile, Kevin isn’t ready for marriage (again) or kids with ex-wife Sophie just yet. While points were given for his “illustrious head of hair,” his compassion, and that confidence-inducing pep talk he gave Kevin, Ficarra got big laughs from the crowd with his take: “Without spoiling anything, I forgive him for killing Jack.”
On the topic, though, Dos Santos presented a list of theories about how Jack dies, Miguel as the murderer being one of them. I wish he was a little better at getting by than he is. Katowski) and Jon Huertas (Miguel). They covered plenty of ground, touching on topics ranging from   that big fight in the series finale   to the mystery surrounding Jack’s death. “A couple surprises.”
RELATED: The Weepiest Moments From This Is Us
One of those surprises will likely be how Rebecca ends up married to Miguel — something Requa said he’s “90 percent certain” will be addressed.” “I concocted a story in my head,” Moore admitted, adding she doesn’t yet know how it really happens. “Anything to sing with you, Chrissy.”

Show Full Article It wouldn’t be a proper discussion about the consistently tear-inducing hit NBC drama This Is Us, which just wrapped up its freshman season, if crying wasn’t involved — and leave it to star Milo Ventimiglia to make a packed PaleyFest audience at Hollywood’s Dolby Theater weep. “When we’re in a scene together, we kind of have to have some kind of history built into our characters and how we’re approaching our relationship,” Huertas told the crowd. Joining Ventimiglia were costars Mandy Moore (Rebecca), Sterling K. Dos Santos pointed out some clues many online already have noticed, like   Kate’s fear of flying and how Kevin mentioned in episode 6 that he threw away all of the model airplanes he made with his dad following his death. Who knows?” Metz said, adding she hopes she will get to duet in some capacity with her on-screen mom. Watson added: “I think Beth is at a stage where she wants to do other things and maybe not start again with having a child, a baby. “I want him to get what he wants. “Here we go. If this turns out to be true, there could be a real-life component to it, too: In 1994 — when Jack and Rebecca’s kids were all teenagers, the same age we see them at their dad’s funeral   — a   USAir jet crashed just outside Pittsburgh, where much of the show is set. All 132 people on the flight were killed. After a fan asked where the inspiration for his character, Pearson family patriarch Jack, came from, Ventimiglia revealed the person was sitting right in the audience. I love him, I really do. With Miguel being one of the show’s more controversial characters, the cast and crew were forced to say something positive about Jack’s former best friend. News acknowledged at the top of the chat. Hopefully he’ll get the girl and the movie.”
And as for Kate, she found her voice, so to speak, in the season finale, where she admitted she wants to pursue her singing aspirations. This is the time I cry: my father,” he shared before pointing out his parents in the crowd.

Swamp Thing co-creator Bernie Wrightson dies at 68

R.I.P. Wrightson also worked as a conceptual artist on a number of films including the original Ghostbusters, Galaxy Quest, and Creepshow director George A. See those messages below. I mourn the lovely man who told bad jokes. Oddly, I don't mourn the artist. Wrightson was best known for co-creating the DC Universe character Swamp Thing with writer Len Wein and for illustrating the   Swamp Thing comic in the early ’70s. to the great Bernie Wrightson, a star by which other pencillers chart their course. — Neil Gaiman (@neilhimself) March 19, 2017

Show Full Article Romero’s zombie movie   Land of the Dead. Bernie Wrightson. Film directors Joss Whedon and Guillermo del Toro and writer Neil Gaiman have all tweeted tributes to Wrightson. Comic book artist and illustrator Bernie Wrightson has died following a long battle with brain cancer, his wife announced via his official website Sunday. He was 68. His many other projects included a comic book version of the 1982 Stephen King-penned anthology horror film Creepshow and a 1983 edition of Mary Shelley’s Frankenstein, for which he spent seven years creating around 50 illustrations. Raise a glass @sinKEVitch @JohnCassaday pic.twitter.com/5tODGUCkc0
— Joss Whedon (@joss) March 19, 2017

I will not post for the next 24 hours to honor the memory of the greatest Gothic artist@of all. — Guillermo del Toro (@RealGDT) March 19, 2017

Bernie Wrightson was the first comics artist whose work I loved.

‘The Flash’-‘Supergirl’ musical crossover: Carlos Valdes on the non-‘Glee’ reunion of it all

EW sat down with Valdes to talk about the big reunion. There’s my Flash life, these people that I’ve been working with for the last two to three years, and then there’s Darren, whom I used to goof off with in college and write musicals about genitalia. Because I’m used to having the experience of being in theater where it’s ephemeral, and it’s live, it’s big and it’s committed in that way, but when you reformat it so that it can work on camera it has to be filtered through a different understanding. This is the world that I come from. So, there’s a lot of weird alma mater connections there. He’s such a goof and so he brings that vivaciousness to this character that I think distinguishes him from the usually dour metahumans that we have to face. The musical crossover will kick off at the end of Supergirl’s March 20 hour, with the majority of the action taking place during The Flash‘s March 21 episode;   Supergirl airs Mondays at 8 p.m., and   The Flash airs Tuesdays at 8 p.m. [Laughs] That’s what we used to do. I have a degree in musical theater, so this is my sh—. So, it’s been really entertaining watching him play this, like, semi-narcissistic sadistic Music Meister. It’s very different for me in that sense. I mean, this is sort of my bread and butter. You know what I mean? Show Full Article Well, I’m about to do it right now. He brings them into this illusory world where their objective is to literally figure out the plot of this traditional musical comedy. What was it like reuniting with him in this capacity? I think everybody was just really jazzed. So, being here and doing this, I actually feel more at ease than I think I would at any other regular day on set. This felt like one of those instances where it was just something that was going to happen. Some things are just destined and written in the stars. The crossover, however, will be a little more PC as The Flash (Gustin) and Supergirl (Benoist) find themselves trapped in a movie musical by the Music Meister (Criss), and their only means of escape are to play through the script, complete with singing and dancing. We embedded into the script this idea that Barry and his mom used to bond over musicals, musicals always made things better. He already knows how to set it on the actors and it looks beautiful. Darren Criss, whom I went to college with — so weird — he plays Music Meister, who’s essentially the baddie of the episode. You know what I mean? And I’ve heard Grant talk so much about how surreal it is for him to not just work with Darren and Melissa, but also to work with Chris, whom he went to college with. The hardest part for me is reformatting my conception of the performance of the musical for the camera. I was expecting there to be a bit more of a learning curve than there actually was. on The CW. So, I’m excited to see how it looks in the end, but as far as the process is concerned, it’s super. You went to college with Darren. It’s very self-aware. So, I think it was just a no-brainer. But it’s been a blast working with all of them. He puts Barry and Kara into this shared dream, this sort of nightmare. RELATED:   First Look: New Photos from ‘The Flash’ and ‘Supergirl’ Musical Crossover
What has the prep been like for this episode between music and choreography? And so, this plot is based on that idea of musicals not just as a form of escapism, but also as a form of emotional catharsis. This is very different having to rehearse so that we can just get one product out there and ship it out, and mass-produce it. How does Cisco take to being in this world? So, it’s very weird to have to experience that through a work setting, but dude it’s so much fun. Add to the mix that Greg Berlanti is a big fan of musicals, and presto — we’ve got a musical episode! How is the Music Meister different from some of the villains we’ve seen on the show before? I was expecting us to have to scramble at the last minute to figure out how to make this happen. While the upcoming Flash–Supergirl musical crossover features a big Glee reunion between Grant Gustin, Melissa Benoist, and Darren Criss, there are also other rich connections that run deep within this cast — and they oddly have to do with genitalia. It takes place in their own heads. The hardest part? Check out our full gallery of The Flash–Supergirl musical crossover photos here, get the scoop on the crossover here, check out our interviews with Darren Criss here   and Melissa Benoist here. Well, actually Winn in this episode is only present in the musical dream and he and I actually play a lot in that dream world. I mean, we’ve got [choreographer] Zach Woodlee from Glee, so he’s such a pro at this. Dude, it’s been such a hoot and it’s been such a blast. Do we finally get the long-awaited interaction between Cisco and Winn? Given the tone of the broadly colored musical, I think fans can expect Music Meister to be someone colored along those lines, basically. Doing dance rehearsals so that we can do the performance and it can be captured once instead of rehearsing a number so that I can do it eight times a week for ad infinitum. I mean, it’s Darren. [Laughs]
How nervous were you going into your first take? ENTERTAINMENT WEEKLY: How did you feel when you first learned you guys were doing a musical crossover? It’s weird because I’m seeing worlds mesh before my eyes, like, worlds that are very separate. You know, I have to say, I’m not really that nervous. I think the cast saw it coming, the bosses saw it coming, and to a certain degree it could be argued that the fans saw it happening. So, it’s definitely a bit of a wacky episode in that respect. It turns out, Criss went to college with The Flash star Carlos Valdes, and even before this highly anticipated hour, the duo were already making music together, specifically for a show called Me and My Dick. So, the recording process,   like   making sure that my performance in the recording booth is matched by my live performance, that’s been an interesting aspect to play around with. CARLOS VALDES: You know, some things are just star-crossed. What’s been the hardest part about the musical so far? He’s already got it mapped out. I met Chris Wood back when he was doing Containment and we were doing upfronts, and he’s such a cool guy. You have to admit, it’s undeniably curious that so many people in our cast come from theater and have that skill set. Definitely very different. But in the real world, it’s actually Mon-El and J’onn J’onzz who bring Kara to Earth-1, so no. They are characters in a musical comedy that have the same types of motivations and mannerisms that traditional musical comedy characters tend to have. In a nod to Kara’s favorite film,   The Wizard of Oz, everyone else in the vocally impressive cast is playing a character within this movie, thus Valdes doesn’t appear as Cisco, but as Pablo, a busboy at the nightclub owned by John Barrowman’s mobster who has aspirations of becoming a singer. Well, the thing about this dream world is it’s very much like The Wizard of Oz in the sense that Barry and Kara encounter the people that populate their daily lives, but they are different. Honestly, he works so hard — it’s been a really enriching experience and I’m learning a lot from it. It’s like old times. But honestly, it’s been a lot more fluid than I expected and I attribute that, honestly, to a good team. What can you tease us of what’s really going on in the movie musical?

Rolling Stones pay tribute to Chuck Berry

“I am so sad to hear of Chuck Berry’s passing,” Jagger said. The Rolling Stones paid tribute to Chuck Berry on Saturday, following Berry’s death at age 90. pic.twitter.com/OnT8YXZpPn
— Ronnie Wood (@ronniewood) March 18, 2017

For more celebrities and tributes to Berry, head here. “The St. “I want to thank him for all the inspirational music he gave to us. He was a true pioneer of rock ‘n’ roll and a massive influence on us,” the group said in a joint statement. He was one of the best and my inspiration, a true character indeed.”

So sad ~ with the passing of Chuck Berry comes the end of an era 🙏. “Chuck was not only a brilliant guitarist, singer, and performer, but most importantly, he was a master craftsman as a songwriter. The family requests privacy during this time of bereavement.”

Show Full Article He was one of the best and my inspiration 🎸, a true character indeed. He lit up our teenage years, and blew life into our dreams of being musicians and performers. Berry’s death was confirmed Saturday by the St. His songs will live forever.”
In addition to the band statement, Stones lead singer Mick Jagger and guitarists Keith Richards and Ronnie Wood offered individual remembrances of Berry. Chuck, you were amazing, and your music is engraved inside us forever.”
Added Richards via Twitter, “One of my big lights has gone out!”

"One of my big lights has gone out.”– Keith, 3/18/17 pic.twitter.com/I86dHlvN5W
— Keith Richards (@officialKeef) March 19, 2017

Keith and Chuck, 1969 (Photo: Ethan Russell) pic.twitter.com/bKpsxIBlsr
— Keith Richards (@officialKeef) March 19, 2017

Wood wrote, “So sad — with the passing of Chuck Berry comes the end of an era. Charles County Police Department sadly confirms the death of Charles Edward Anderson Berry Sr., better known as legendary musician Chuck Berry. Charles County police department in Missouri. His lyrics shone above others and threw a strange light on the American dream. “The Rolling Stones are deeply saddened to hear of the passing of Chuck Berry.

‘Samurai Jack’ creator unpacks this week’s shocking moment

But perhaps a human does and that theme not only affects Jack, but affects something else [in the coming episodes], also.”

Since the   season 5 premiere, Samurai Jack continues to pursue   a more psychological story. Come to think of it, the only honorable thing to do is…”   Jack may have kept hope alive, but the horror on his face over   killing a living thing hints at more mental ramifications. We’re like, ‘How is this gonna be lit? This week’s episode of Samurai Jack‘s stalled   fifth season sees our hero facing perhaps his greatest enemies yet: the assassins known as the daughters of Aku. The music is this piece about the oncoming doom and death, and it contradicts everything of the music that’s leading up to it that it kind of just hits you.”
Samurai Jack season 5 continues next Saturday on Adult Swim at 11 p.m. Because they’re just programmed. ET. “[Aku] keeps thinking that one of his machines can defeat me. “I think [Jack]   has to reflect on choices and fate and destiny and sometimes maybe you’re forced to do things you don’t want to do,”   Tartakovsky explained to EW. While hiding from his assailants, a spectral form   appears in the guise of his former self. Their encounter, an adrenaline-fueled   chase through wintry woods and an abandoned temple, leaves Jack wounded and his fate shrouded. We could just fake light it, but then assassins are wearing black suits. But what happens when his enemies are no longer “just nuts and bolts”? “But then it’s not just your choice, it’s the choice of that other person too, where a machine has no choice, right? RELATED: The 25 Best TV Characters in the Past 25 Years
In a surprising moment, one that demonstrates the   more “mature” style of storytelling creator Genndy Tartakovsky brought to the cartoon, Jack slays   his first human ±   the image of the assassin’s cooling   corpse haunts   him as he makes his escape down a river stained with his own blood. “There’s no way home, there’s nothing to fight for, there’s no more honor. What are we gonna do?’” Tartakovsky said. They are just machines,” Jack says. “It’s time to end it, don’t you think?” the mirage taunts, pushing Jack to the brink   of suicide. Show Full Article One of the big set pieces leading up to the episode’s climax came deep in the pitch black catacombs, where Jack is forced to spar with one of the daughters amid the flickering glow of a firefly. “Initially the fireflies came up because we were stuck for lighting. “And then we came upon this, maybe there’s bugs and they’re illuminating that scene.”
He   envisioned   the sequence as   an homage to The Good, The Bad, and the Ugly, “where they’re in the graveyard and there’s this music piece called ‘The Ecstasy of Gold’ and it’s this super long sequence that’s music.”
Tartakovsky noted,   “We did a similar feel and what’s great about that scene is the music. Warning: The following post contains spoilers for Samurai Jack season 5, episode 2.

Drake’s ‘More Life’ playlist: 7 highlights

Well, the guy who launched countless   “Hotline Bling” memes isn’t about to let Future have all the fun: There’s a flute outro on   “Skepta Interlude,” while “Portland” — a collaboration with Travis Scott and Migos’ Quavo — prominently features what sounds like a recorder. rap and grime music on More Life, collaborating   with British emcees Giggs (who shows up on “No Long Talk” and “KMT”) and Skepta (who slides in for his own solo interlude around the halfway point). “4422” belongs entirely to British singer Sampha, whose haunting, vulnerable voice Drake first showcased on his 2013 track “Too Much.” On the songs where Drake is a major player, he’s still in a generous mood: He   gladly lets 2 Chainz and Young Thug out-rap him on “Sacrifices,” and   he even lets Kanye out-sing him on “Glow.”
He samples   Sonic the Hedgehog
That ominous string section   amping up the drama on “KMT”? Here are the highlights from EW’s first listen. And once again, he’s challenging conventional ideas   about how artists share new music in the streaming age. Not only does   he   stack the playlist   with appearances from Kanye West, 2 Chainz, Young Thug, and Lil Wayne (in an ultra-quick cameo), but Drake also lets some of his   guests completely take over songs and make them their own. On the official release, however, she’s replaced by another vocalist entirely (British singer Jorja Smith). Lo
Drake wastes no time addressing his time in the headlines on   some of   More Life‘s juiciest lyrics. After months of teasing, Drake finally released his latest full-length project,   More Life, Saturday night. Lo classic “If You Had My Love.”   If it’s about Lopez, she’ll probably get the last laugh: Thanks to his use of her song, she gets a writing credit. Kelly’s “Clipped Wings”; the Kanye-assisted “Glow” samples Earth, Wind & Fire’s “Devotion”; “Blem” interpolates Lionel Richie’s “All Night Long”; and Drizzy even samples   his own song on   More Life‘s “Jorja Interlude” by playing around with the Stevie Wonder harmonica solo   that first appeared on his 2011 track   “Doing It Wrong.”
He’s still obsessed with the same old things
For most of More Life, Drake sticks to three of his favorite conversation topics: tsk-tsking   girls he used to date, assessing   where he falls in rap’s pecking order, and being deeply suspicious of the people who hang around him. “I want to give you a collection of songs that become the soundtrack to your life,” he said last fall when he announced the project. He acknowledges that he’s a work in progress
That   permanent chip on his shoulder made Views tough to sit through, but on   More Life, Drake at least   tries to shake off some of the bitterness plaguing him… with help from his mom and the former FLOTUS. [to be]   skeptical about who you believe you can trust. But that attitude will just hold you back in this life, and you will continue to feel alienated…. And later, on the song   “Teenage Fever,” about a failed relationship, Drake tells a lady friend she’s “to blame for what could have been” before singing   the hook from J. “Get It Together” isn’t so much a duet with Jorja Smith as it is a Jorja Smith song with a side of Drake. / I heard from your friend you couldn’t even tell me / or better yet wait on me … do I get an invitation or something? But with 22 songs, the release of More Life is still an event. Who knew that instrument you played back in second grade would be so hip in 2017? When others go low, we go high.”
He seems to take her advice to heart. Lo / Old number so it bounce back.”
And the drama doesn’t stop there. I know you can reach your desired destination and accomplish your goals much more quickly without this confrontation in your tone these days. Show Full Article He covers multiple genres with ease
“I switch flow like I switch time zone,” Drake raps on “Gyalchester.” The same is true of his approach to sounds and genres:   One moment he’s spitting out rhymes over icy trap beats, the next he’s getting in touch with his tropical side on the piña colada jam “Passionfruit” or revisiting the   Afrobeat sounds of last year’s “One Dance” on “Madiba Riddim.” Drake   also repeatedly branches out into U.K. Last year, TMZ shared   footage of Drake and Lopez dancing to a version of the   More Life song “Get It Together” that appeared to feature her vocals. “Can’t Have Everything” closes with what appears to be a voicemail pep talk from Drake’s mother that also quotes Michelle Obama’s memorable Democratic National Convention speech: “I’m a bit concerned about this negative tone that I’m hearing in your voice these days. The sprawling PARTYNEXTDOOR team-up “Since Way Back” samples R. He might   want in on the latest meme
Last month, Drake’s What a Time to Be Alive partner   Future released “Mask Off,” a song built around a hypnotizing   flute sample from   Tommy Butler’s 1976 song “Prison Song,” which then inspired   the internet to mash up the track   with clips of everything ranging from the Zelda series’ Link playing the ocarina to   Anchorman: The Legend of Ron Burgundy. There’s no rapper more concerned with how his exes are spending their time   than Drake, and on More Life‘s   “Nothings Into Something,” he gets annoyed that yet another woman has   moved on with her life: “Did I just read that you got engaged on me? He’s been calling those people out for the better part of a decade at this point, but his tone comes across as   more paranoid than when he first complained about the matter   on 2010’s “Over.” “They smile in my face / Whole time they wanna take my place,” he raps on “Fake Love.” It’s one thing for people to be using you for your star power; it’s another for people to try and steal it. On the closing track “Do Not Disturb,” he owns up to the anger that fueled much of   Views: “[I] saw a side of myself that I never knew.”
More Life   is now streaming. He   gets real about J. Instead, Drake is calling it a playlist. More Life isn’t a proper album like last year’s   Views, nor is it a mixtape, nor is it even a mixtape-album hybrid like 2015’s If You’re Reading This It’s Too Late. On the playlist’s first song, “Free Smoke,” he references his 2015 feud with Meek Mill by asking: “How you let the kid fighting ghostwriting rumors turn you into a ghost?” He   also gets candid on that same song about his   relationship with Jennifer Lopez, rapping, “I drunk text J. He lets his guests shine
Drake is more than happy to share the spotlight on   More Life. Yeah, that comes from a video game — Sonic the Hedgehog, in fact. A statement or something?”
Elsewhere on   “Gyalchester,” Drake reevaluates his legacy by declaring, “I know I said I’m top five, but I’m top two.” That’s a reference to the   Views song “Grammys,” on which he first boasted that he was   “top five, no debating.” (As for who Drakes thinks snags the other top spot, it’s hard to say — Drake is vague about his   judging criteria.)
And then there’s “Fake Love,”   More Life‘s lead single, which takes aim at the   people who only want to be around for his fame. (The track   uses part of the series’ “His World” theme song.) But that’s not the only striking sample woven into   More Life. I can appreciate where your uncertainly stems from, and you have reason….