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New York Post
11 minutes ago
- New York Post
‘And Just Like That' star believes he was cut from the show for being ‘woke'
Bobby Lee thinks wokeness is to blame for his exit from 'And Just Like That.' The comedian, 53, spoke to Entertainment Weekly at San Diego Comic-Con over the weekend about why he wasn't asked to reprise his role as Jackie Nee, Carrie's (Sarah Jessica Parker) podcast cohost, on the third season of the show. 'Some of the woke elements of the show, they got rid of, and I think I was a part of that,' Lee stated. Advertisement 7 Bobby Lee in 'And Just Like That.' 'I think Sara [Ramirez] didn't come back and some other people,' he added. 'They tried to put minorities in, and — I don't know. I never saw the show.' The Post has reached out to HBO for comment. Advertisement Lee departed 'AJLT' between Seasons 2 and 3, as did Ramirez, who played Miranda's (Cynthia Nixon) non-binary love interest Che Díaz, and Karen Pittman, who played Dr. Nya Wallace. 7 Ali Stroker, Sara Ramirez, Ivan Hernandez, Bobby Lee and Sarah Jessica Parker in 'And Just Like That.' 7 Sarah Jessica Parker as Carrie Bradshaw. HBO Advertisement Season 2 wrapped up Carrie's podcast storyline, which allowed the show to write off Lee and Ramirez. 'Number one, I don't even know why they asked,' Lee told EW about being cast in the HBO Max series. 'And I was super scared to do it. Because it wasn't my brand, really. You know what I mean? But I did it. I walked through the fear.' 7 Bobby Lee on 'Fast Foodies.' Anna Maria Lopez Lee added that getting to work with Parker, 60, was a highlight of the experience. Advertisement 'Sarah Jessica Parker is the nicest person I've ever met. She made me feel so at ease,' he shared. 'I like everyone on there. It was fun. I never have bad blood with anybody. You know what I mean? I am nice. I show up on time.' 7 Bobby Lee spotted getting coffee in Los Angeles on July 21. Phamous / BACKGRID Lee previously revealed that working on the 'Sex and the City' reboot pushed him to get sober. 7 Sarah Jessica Parker in 'And Just Like That.' HBO MAX 'I was in Hawaii and I was blackout drunk and my agent called and said, 'They need you in New York,'' he recalled on Rachel Bilson's 'Broad Ideas' podcast in 2023. 'This is one of the reasons why I'm sober … On the plane, I thought, 'I'm just gonna get s–t faced,' so I was in a blackout when we landed in New York.' Lee said that he learned he was expected to film 'AJLT' that day when he realized that his driver wasn't taking him to his hotel. 7 Bobby Lee on a coffee run in Los Angeles. Phamous / BACKGRID Advertisement 'I remember going and being so high and drunk,' Lee revealed. 'When I was reading the script, I couldn't even understand what the f–k it was even saying. It was a nightmare. I remember thinking, 'This is never going to happen again — I have to get sober.'' New episodes of 'And Just Like That' stream Thursdays at 9 pm ET on HBO Max.
Gizmodo
an hour ago
- Gizmodo
The Spice Girls and Wu-Tang Clan Almost Had Their Own Anime
Now, here's a sentence no one expected to read in the year 2025: Once upon a time, we might have gotten to see the Spice Girls and the Wu-Tang Clan in anime form. In a recent interview with AnimEigo, Lawrence Guinness, a senior VP at Manga Entertainment, distributor of anime such as Perfect Blue and Street Fighter Alpha (and subsidiary of Island Records), revealed the company considered co-producing its own works. Two projects he mentioned would have starred the aforementioned bands, and the Spice Girls idea got far enough along that he had some production stills to show. Had it happened, it'd have been a film called Girl Power: The Anime, courtesy of Production I.G, the studio behind Ghost in the Shell. According to Guinness, Manga had 'very advanced talks' with the British pop group's management at the time this was pitched and would've hopefully appealed to fans of then-popular anime like Studio Ghibli. Even now, Guinness is confident teenage girls 'might've gone to the cinema to see this. In fact, I think you would've stood in a line for a long time to get in to see this. This was the vision. Look, if that's not girl power in action, I don't know what is.' As for the never-realized Wu-Tang project, a series that would have been called The Imperial Warrior, he claimed near everything was in place for the project, except some of the hip-hop group's members didn't sign off on it. His pitch to Island Records founder Chris Blackwell saw Wu-Tang 'challenging the forces of evil through their music and martial arts skills.' The soundtrack and designs for the characters (he mentioned RZA and Ghostface Killah specifically) were 'great,' said Guinness, and it would've been 'revolutionary. That was the project I was proudest of that never happened.' Over the decades, Japanese creators have been open about their love of western music, and artists like the late Prince and Aaliyah have inspired characters in Michiko & Hatchin and My Hero Academia. Making musicians or other celebrities into fictionalized versions of themselves for film and TV is another tale as old as time, and Guinness wanted these two projects to take off to both put Manga on the map and successfully 'synthesize anime with the best of western culture.' When it comes to Wu-Tang Clan, he's sort of gotten his wish, thanks to RZA's involvement in Afro Samurai and developer Brass Lion Entertainment's upcoming action game Wu-Tang: Rise of the Deceiver. As for the Spice Girls, it's a shame they never got their animated due—there are worse ways for a band to be memorialized than an anime movie with some original songs and cheesy action that still holds up years after the fact. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Indianapolis Star
2 hours ago
- Indianapolis Star
Ozzy didn't corrupt America's youth. He exposed the hypocrisy of their elders.
Ozzy Osbourne is dead, and some Christians may believe that the devil ushered him straight to the gates of hell. Few pop culture icons were as important, or as controversial, as Osbourne. The British-born rocker became the avatar of American culture wars more than a half-century ago by attempting to showcase the hypocrisy of modern religion. Osbourne launched his career in the late 1960s. Sensitive to cultural currents, he recognized what was happening not just in music, but also in religion and politics. He used it to build on the image of rock as subversive and countercultural. From the start, Osbourne understood how to bring attention to his art. Calling his band Black Sabbath sent a clear message. He aimed to subvert, not honor, Christianity. He integrated crosses, demonic imagery and symbols of the devil such as bats into his performances to highlight what he saw as the absurdity of organized religion. Osbourne sang lyrics in his first album about a 'figure in black' that directed him, and in another song, he took on the persona of Satan himself: 'My name is Lucifer, please take my hand.' In Black Sabbath's "Paranoid" album, released at the height of the Vietnam War, he sang 'War Pigs,' a song in which Satan laughed and spread his wings as political and military elites led the Western world to the doorstep of the apocalypse. Opinion: How faith becomes a weapon: 'If I can't understand it, it's not Christian' Such allusions to the demonic continued in album after album. Osbourne's career developed parallel to a new understanding of Satan. In the post-World War II era, the devil assumed a more prominent role in American life. Anton LaVey's founding of the Church of Satan in 1966 celebrated Satan as a symbol of rebellion, individualism and secular liberation. In other words, Satan was the opposite of everything anxious Cold War parents wanted to instill in their kids. Artists drew on this revamped Satan in their work. Films like "The Exorcist" (1973) and "The Omen" (1976) brought Satan − and fears of Satan's ability to inhabit human bodies − into the imaginations of millions of people. Osbourne made those themes central to his music. In the 1980s, while Osbourne was still releasing albums, fears of satanic ritual abuse swept across the United States. Christian conservatives fretted that Dungeons & Dragons, Ouija boards and horror films were gateways to demonic influence. High-profile cases like the McMartin preschool trial and the publication of memoirs about escaping satanic ritual abuse fueled widespread panic. Law enforcement agencies conducted seminars on occult crime, therapists uncovered repressed memories of ritual abuse and talk shows amplified claims of underground satanic cults. The panic revealed deep anxieties about child safety, cultural change and the perceived decline of Christian values in American society. Perhaps, parents and religious leaders wondered, was Osbourne driving kids into satanism? Perhaps his music was brainwashing the nation's youth? Conservative Christians − including evangelicals, Catholics and Latter-day Saints − believe in a cosmic battle between angels and demons that directly influences human affairs. They believe that unseen spiritual battles determine real-world outcomes, particularly in culture, politics and morality. Opinion: Kan-Kan Cinema is elevating Indy's cinema culture Many of them also believed they had to protect children from music like Osbourne's. This framework encouraged social conservatives to interpret issues like abortion, LGBTQ+ rights and the de-Christianizing of culture as evidence of demonic influence, necessitating counteraction through prayer, activism and political engagement. Osbourne and the genre of hard rock that he helped to promote contributed to their fears. In their minds, Osbourne was encouraging youth to rebel. And he was. Osbourne's fans understood what the rock star was doing. They loved it. The more angry Osbourne could make their parents, and the more he could rile up moral crusaders, the better. And he agreed. Playing with the devil became a hallmark of his long career. Briggs: Born into Jim Crow, she lived to witness DEI debates From witch hunts in Salem to conspiracy theories driving QAnon, Americans have used Satan to facilitate a politics of fear. They have used him to justify persecution, fuel moral panics, shape political and cultural battles, and assess global crises and war. But there has always been another side to Satan, the one Osbourne captured. His devil wasn't the horned villain of Christian nightmares but a trickster, a rebel, a symbol of freedom from sanctimony. In Osbourne's hands, Satan gave a theatrical middle finger to hypocrisy and lifted up a mirror to a society obsessed with sin, and he laughed. His life reminds us that sometimes, dancing with the devil is really just refusing to march in lockstep with the saints.
