New Releases

No One Could Have Predicted Lil Nas X's "MONTERO (Call Me by Your Name)" Music Video

When Lil Nas X announced that he was working on a single named "Call Me by Your Name," no one could have imagined he'd be sliding down a stripper pole into hell to give the devil a lap dance

Lil Nas X becomes the devil "MONTERO"

After almost a year of teasing his latest single "MONTERO (Call Me By Your Name)," Lil Nas X finally released the song — with an accompanying video which has sent the internet ablaze.

Known for breaking boundaries and taking risks, Nas has done it again with a release that no one could have predicted. If we had each spent all of our free time since he first teased the song in July 2020 trying to predict what would unfold, no one could have imagined he'd be sliding down a stripper pole into hell to give the devil a lap dance.

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Is Morgan Wallen Just a Scumbag?

This morning it was revealed that Wallen's use of a violent, racist epithet seemed to give his career a boost.

Morgan Wallen

At a maskless pool party in Tampa, Florida, last night, Diplo caught the attention of TMZ after he spun "Heartless," his country-pop duet with singer Morgan Wallen.

The performance came mere days after Wallen was caught on camera drunkenly spewing the n-word, the latest controversial act in what has become a tiresome cycle of lewd behavior from the singer.

Wallen's career briefly hit a snag as a result of this particular incident. He was not only suspended from his label, but his music had been removed from multiple radio outlets.

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Film Reviews

Yes, Pete Davidson Talks About Ariana Grande in His New Netflix Special

In Pete Davidson: Alive From New York, the SNL cast member handles controversial topics well...for the most part.


Since diving into the world of stand-up as a teenager, Pete Davidson's comedy has often hinged on touchy subject matter.

The Saturday Night Live cast member's debut Netflix special, Pete Davidson: Alive From New York, dropped this week, and there's no shortage of potentially controversial topics: fellow comedian Louis C.K., his hyper-public breakup with Ariana Grande, and divisive politician/veteran Dan Crenshaw being among them. "All right, we'll do some 9/11 jokes, and then we'll get the f--k out of here," Davidson shrugs near the set's end, as casually as if he were taking a sip of water.

Callousness might be Davidson's bread and butter, but in Alive From New York, he handles these polarizing issues with a surprising level of grace. The special opens with a particularly eyebrow-raising anecdote: "So Louis C.K. tried to get me fired from 'SNL' my first year, and this is that story," he explains. By the punchline—and not without a healthy dose of self-deprecation—Davidson paints the disgraced C.K. as, somehow, even more unlikeable.

Davidson hits his stride when he's able to justify those points of contention; his 9/11 jokes land because he frames them within the context of having lost his father in the attacks. His picking on Grande is among the special's highlights, because he knows he's punching up: "She won Billboard's Woman of the Year, and I got called 'butthole eyes' by" Naturally, Davidson also doesn't shy away from poking fun at himself, dismissing the rumors that circulated after Grande implied he was—ahem—well-endowed. "She's a very smart person, OK?" he says. "She did that so that every girl that sees my dick for the rest of my life is disappointed."

But Alive From New York's low point came when Davidson made a joke about doubting if certain gay men were actually gay. In the bit, which got flack after being featured in the special's official trailer, Davidson opens by assuring viewers that he has a lot of gay friends, which off the bat feels slightly too similar to the classic "I can't be racist because I have black friends" defense. "It's that gay dude that'll run up on your girlfriend and squeeze her boobs and grab her ass and be like, 'Damn, girl, you look great!'" Davidson says. "I don't find that f--king funny."

Writer Jill Gutowitz condemned this joke in a viral Twitter thread, emphasizing that, as a woman, she'd never been groped by a gay man: "Did straight men literally invent this stereotype of gay men with grab hands?" she asked, adding that depicting gay men in that light was "extremely dangerous." Gutowitz's tweets were met with mixed responses. Some women shared the same sentiments, although the majority pointed out numerous times in which gay men had groped them without their consent. "Don't dismiss that cis gay men are still men conditioned to see us as objects," one user argued.

Davidson's joke concurred that gay men shouldn't be able to freely grope women, although it was veiled with a "...because she's my girlfriend" qualifier. Nonetheless, it's generally in poor taste for masculine, straight men like Davidson to joke about gay men in a negative light. He surely meant no harm in the joke, but if he does in fact have a lot of gay friends, then he probably should've been advised to avoid such a joke altogether.

Davidson knows his comedy isn't for everyone—"I know that joke splits the room," he clarifies after a provocative punchline—but overall, Alive From New York evidences his growth as a comedian. Where other comedians show a lack of distinction between vulgarity and full-on offensiveness, Davidson proves he's pretty good at walking the thin line between the two—butthole eyes and all.


"The Witch," Lana Del Rey, and Satanic Feminism: The Trope of the Wicked Woman

Given feminism's occult origins, it makes sense that witchcraft and activism are both so popular right now.

This article contains spoilers for "The Witch."

At the end of Robert Eggers' movie The Witch, the main character—a young girl named Thomasin—removes her bloodstained clothes and wanders into the woods, following what appears to be an iteration of the devil who's been masquerading as the family goat.

She stumbles upon a circle of other naked women, convulsing and dancing around a fire. They start to levitate. So does Thomasin. In the film's final frames, her face breaks out into an expression of ecstasy.

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Kesha Talks Emotional Wreckage, Glitter, and Her Upcoming Album

The pop star examined her past and future in a new interview with Billboard.

This December, Kesha is releasing her first album since 2017's Rainbow.

While not exactly downbeat, Rainbow was certainly a marked shift from her previous work, which was mostly about partying the night away and drowning oneself in glitter and liquor. If you thought that Kesha had disappeared along with the $ in her name, think again. In a new interview with Billboard, she said "I got my b*lls back, and they're bigger than ever."

She wants you to know that this isn't a renunciation of the more serious side she showed on Rainbow, though. "Everything goes up and down, and I think it probably will for the rest of my life," she added. "So you ride the highs, and you write songs about an awesome night where you go and meet Elton John and get f*cked up and lose your phone in the Uber, and sometimes you write songs about what it might have been like if you grew up with a father, because you have absolutely no clue. And hopefully, by now, the world has realized that you can be multidimensional."

Kesha - It Ain't Me, Babe [Billboard Music Awards 2016] HD 1080p

Kesha - Woman (Official Video) ft. The Dap-Kings Horns

People can be party girls and multifaceted, complex human beings at the same time. Who knew?

Apparently, Kesha is doing better than ever, and she's back to the place she was when she started making music, before everything happened with Dr. Luke and all the ugliness that surrounded those events. "It feels more earned and healthier than ever," she said of her newfound healthy state of mind. "I dug through the emotional wreckage, and now, I can go back to talking a little bit of sh*t."

Her next album will be a return to the exuberant, neon-saturated pop that launched her career. "I really wanted to put a solid footprint back into pop music, like, 'I can do this, and I can do this on my own,'" she continued. "I don't know if this is my last pop record, but I want to have one where I go out with a bang."

The followup to Rainbow will be released in December.


Lana Del Rey Premieres Videos for "F**k It I Love You" and "The Greatest"

The Norman F**king Rockwell era has been a long time coming, but at 3 PM today, LDR finally dropped two brand new songs and a double video.

Lana Del Rey's new album seems like it'll be worth the wait.

Her latest releases, from the soulful "Mariner's Apartment Complex" and the spacey "Venice Bitch" to the seductive "Season of the Witch" and the tragic, timely "Looking for America," have been some of Del Rey's best work. As she's matured, so has her sonic and lyrical acuity. She's always been an expert at capturing her own moods, but now she's capturing the mood of the nation.

None of the aforementioned songs is even going to be on the upcoming fifth (sixth if you count the Paradise edition as separate from Born to Die) album, Norman F**king Rockwell, which was supposed to come out practically forever ago. Today, finally, we have the first two new songs from the album—"F**k It I Love You" and "The Greatest." Del Rey released them alongside a double video, which she teased several days ago.

The first song, "F**k It I Love You," is a classic Del Rey tune. Full of longing and ocean-side imagery, it layers gloomy electric guitar over drums and finds its star painting and surfing under artificial northern lights. Like her best work, it's part fantasy and part raw honesty, but it seems newly conscious of (or willing to reveal) its artifice.

The second, "The Greatest," is even stronger. Despite its sonic similarities to another Jack Antonoff-produced composition, Lorde's "Liability," it soon differentiates itself with heart-wrenching guitar riffs. The song's strongest moment is its last 30 seconds, when Del Rey leaves her longing for the past behind for a clear-eyed look at the present. "LA's in flames, it's getting hot," she sings. "Kanye West is blonde and gone."

It feels like the song could be about the end of the world or the end of Del Rey's career or the end of a relationship or getting older, or maybe all four. Regardless, it spins a host of pop culture references into a spellbinding final product. There's even a record player that shows Bon Iver's "22 (Over Soon)" from 22, A Million and The National's "Terrible Love," as well as Leonard Cohen's "Chelsea Hotel No. 2," David Bowie's "Life on Mars," and other songs by some of Lana's many influences.

It's apocalyptic, it's tropical, it's more ambitious than much of her earlier work, and it's going to sound incredible during her live festival shows.

In these videos, Del Rey seems to be returning to the aesthetics of her past—specifically, to the kind of world she created in her iconic "Ride" video, except this time with a nautical twist. The looming old men have returned, along with the neon bars and billiard games. But this time, the men are passive players, and Del Rey is more confident than before, dancing one on boats, surfing the waves, and sailing through her memories until she reaches the present and leans over the edge of an unknowable future.

Recently, Del Rey opened up to The Fader about her creative process. "I feel very much that writing is not my thing: I'm writing's thing. When the writing has got me, I'm on its schedule. But when it leaves me alone, I'm just at Starbucks, talking sh*t all day," she said.

Del Rey also premiered a new, steamy Billboard cover this afternoon, so fans have plenty to talk about.

Watch the brand-new videos below:

Lana Del Rey - Fuck It I Love You & The Greatest (Official Video)