The Suite Life of Zack & Cody star Dylan Sprouse and his wife, Barbara Palvin, encountered an alleged trespasser at their Hollywood Hills home early Friday.
According to the Los Angeles Times, Palvin called 911 around 12:30 a.m. after she noticed a man on their property and reported a possible burglary. Sprouse then tackled the suspect on the lawn and held him at gunpoint until police arrived, TMZreported.
Authorities took the man, whose identity has not yet been revealed, into custody on outstanding warrants. He did not enter the couple’s home, and no injuries were reported, the L.A. Times said.
The Hollywood Reporter reached out to reps for Sprouse and Palvin but did not receive a response.
Sprouse is best known for his roles as a child actor on Disney Channel. There, he starred alongside his twin brother and Riverdale star, Cole Sprouse, in The Suite Life of Zack & Cody, from 2005 to 2008, as well as the spinoff series, The Suite Life on Deck, from 2008 to 2011. Following Disney, his credits include Dismissed, Force Grey, After We Collided, Beautiful Wedding, Under Fire and Surrender.
As for Palvin, the Hungarian supermodel and actress is best known as being a Victoria’s Secret Angel and working with brands such as Prada and Chanel. She’s also accumulated acting credits in Hercules, Tyger Tyger and Love Advent.
The couple met at a party in 2017 and began dating a year later. They announced their engagement in June 2023 and tied the knot the following month.
From Universal and Illumination, Super Mario — which will cross the $350 million mark sometime on Sunday — will top the chart in is third weekend with an estimated haul of $30 million. While the sequel is running about $60 million behind the first Super Mario, it is already the top-grossing Hollywood film of the year so far and is on the verge of jumping $700 million in worldwide ticket sales.
The landscape will change dramatically next weekend when Michael, Sony’s Michael Jackson biopic opens, followed a week later by The Devil Wears Prada 2, which marks the official start of the summer box office.
Amazon MGM Studios’ Hail Mary continues its remarkable journey, falling only 23 percent in its fifth weekend to an estimated $18.5 million for a domestic cume of $283 million. The sleeper hit is returning to Imax and other premium large format screens this weekend, several days after and star/producer Ryan Gosling and directors Phil Lord and Christopher Miller showed up at CinemaCon to thank theater owners and announce that Amazon MGM is extending the film’s exclusive run in cinemas.
Produced by Jason Blum’s Blumhouse and James Wan’s Atomic Monster, The Mummy is Cronin’s an R-rated reimagining of Universal’s all-audience franchise. The film has divided critics, but audience exits are solid-to-decent. Also, the pic ended up having to share Imax screens with Hail Mary.
Jack Reynor, Laia Costa, May Calamawy, Natalie Grace and Veronica Falcón star in the pic, which Cronin wrote and directed. The story centers on a family who has been grieving the disappearance of their daughter eight years earlier in Cairo. Suddenly, they get a call from Egyptian officials revealing she has been found after spending the past eight years in a 3,000-year-old sarcophagus and has been transformed into a living mummy-like creature.
Cronin is celebrated forreviving the Evil Dead franchise with Evil Dead Rise, which grossed $147 million globally in 2023. He came on the scene with the 2019 feature The Hole in the Ground, which bowed at Sundance.
James Wan, Jason Blum and John Keville produced The Mummy alongside Cronin.
New openers at the specialty box office include the Anne Hathaway-led music industry drama Mother Mary from a24, and Morgan Neville’s Lorne Michael biopic Lorne.
Mother Mary, playing in only five locations, is eyeing a promising per location average of $35,000-plus before expanding nationwide next weekend.
Speaking to Entertainment Tonight, the brothers said they are open to revisiting the comedy, which they co-wrote and starred in. “I’ll put it this way; we’re game,” Marlon Wayans said, while Shawn Wayans added that a sequel “can happen” if audiences turn out for “Scary Movie 6,” set for theatrical release June 5.
Released in 2004, “White Chicks” followed two FBI agents who go undercover as wealthy socialites, transforming themselves from African-American men into a pair of blonde, white women. The film grossed more than $110 million worldwide and developed a strong cult following over time, becoming a staple of early 2000s studio comedies.
The Wayans brothers are returning to the “Scary Movie” franchise with its sixth installment after being absent from the previous three entries. The original “Scary Movie,” which they co-wrote with Keenen Ivory Wayans, launched a successful parody series that went on to generate multiple sequels and significant global box office revenue.
“Scary Movie 6” will feature a mix of returning and new cast members as the franchise looks to reestablish itself with audiences.
Now on its 22nd edition, the Guadalajara Film Festival (FICG) Co-Production Meeting program has grown from strength to strength, luring a wide range of directors and producers from Spain and Latin America, both new and established. There are quite a number of projects from Argentina, which has leaned more heavily on co-productions given the plunge in federal support at home. In 2024, Argentina’s right-wing populist government moved to scrap funding for the national Film-TV body, INCAA, as part of sweeping austerity measures aimed at curbing the country’s runaway inflation.
Taking place April 20–22 this year, the program requires projects in development – across fiction, documentary and animation – to have a completed screenplay and at least 20% of their financing secured.
Its primary objective is to link the participants, 19 in this edition, with industry professionals, funding bodies, producers, buyers and international distributors in order to facilitate their completion.
The selection committee this year included Peruvian filmmaker-producer Joanna Lombardi; Argentine screenwriter Juan Manuel Dartizio, Pato Portillo, creative director of content development company Real Tellers, Mexico-based Bolivian producer Gabriela Maire (“The Good Girls”) and Mexican filmmaker Samuel Sosa.
“Cinema allows us to tell our stories and preserve them in images, narratives and words, so that in the future people can understand who we were through these films, rather than only through the works that receive the most attention or likes. This is very important for us,” said FICG Industry head Ximena Urrutia.
Among the standouts in this crop are Daniela Schneider’s “The Infinite Night,” produced by Fernanda López, Amat Escalante and Daniela Romo. It forms part of a highly diverse selection of works from different countries.
The lineup also features the Argentine project “The Other Voice,” a documentary directed by Agustina Pérez Rial, with a strong producer backing of Nicolas Gil Lavedra, Emiliano Torres and Felicitas Raffo. There’s even a U.S.-Mexico co-production “All Other Parts,” directed by Cristina Ibarra, who hails from in Los Angeles. “As neighbors, the U.S. and our community share deep ties – especially within the Latino community—grounded in common roots and an ongoing dialogue. Sustaining and strengthening that exchange is vital, particularly in the current context,” said Urrutia.
The lineup:
“All Other Parts,” (“Las partes que faltan”) Cristina Ibarra, U.S.
Developed by U.S.-based All Other Parts LLC, a documentary/hybrid production company, the project is in production. Produced by Vanessa Perez, Cristina Ibarra and Heather Courtney, it centers on cross-border surveillance themes. The film follows a man returning to El Paso after 20 years in exile, whose homecoming becomes digital confinement under ICE monitoring. The film traces how a life once defined by movement across the U.S.–Mexico border is transformed into one of enforced stillness and constant observation. As Ibarra states, it explores the shift from physical borders to invisible systems of surveillance over bodies, homes and data.
“Germaín, The Black Angel” (“Germaín, el Ángel Negro”), Tomás Alzamora Muñoz, Chile
Developed by Santiago-based Equeco, an auteur-driven Chilean production company founded in 2016 (“Denominación de origen,” “History and Geography”) the project is in development, with a slate expanding through international co-productions led by “Il Cileno” and “Hijas únicas.” Produced by Pablo Calisto, pic follows Germaín, a 16-year-old in 1967 Chile whose abandonment and nocturnal excess become the emotional engine for forming Los Ángeles Negros, one of Latin America’s most influential bands. As Alzamora states, the project reflects on “who stands behind musical phenomena and what drives them to create.”
‘Germaine, The Black Angel’ Courtesy of FICG
“Her Ocean” (“El Mar La Mar”), Julian Amaru, Perú, México
Developed by Lima-based Final Abierto alongside Mexico’s Apapacho Films, the project is in pre-production for a 2027 shoot, positioning itself within a Peru–Mexico co-production pipeline focused on emerging Latin American auteur cinema. Produced by Maria Paz Barragán and Ruben Rojo, with writing by Julian Amaru and Christopher Vasquez, the coming-of-age magical realist drama follows Ray, a young fisherman fleeing homophobia and family rupture as he journeys to Iquitos in search of his mother, navigating desire, friendship and identity in the Peruvian jungle. As Amaru states, it is “a story of love and courage.”
“Here Is Not Like That” (“Aquí no es así”), Sebastian Molina Ruiz, Mexico
From Calle Calandria, the Mexican indie production outfit behind festival titles ‘Mostro” and “Todos los incendios” is developing the hybrid documentary, now in pre-production and expected to draw industry attention ahead of the 2026 World Cup. The film explores Mexico City beyond global spectacle. As Molina Ruiz states, “Here Is Not Like That” seeks to reveal “hidden mechanisms… marked by precariousness, exclusion and everyday resistance,” signaling strong auteur-driven nonfiction trends today. Diandra Arriaga (“Mostro”) and Gabriela Maldonado (“Ricochet”) produce.
“Kid” Anna Lu Machado, Brazil
Developed by Rio de Janeiro-based Raccord Produções, founded in 1993 and led by Clélia Bessa, with over 23 titles in partnership with Disney and Globo Filmes and festival presence in Venice, Cannes, and Rotterdam (“Madalena,” “The Little Prince’s Rap Against the Wicked Souls”) in co-production with Baracoa Filmes and Casa Latina Films. Produced by Bessa and executive produced by Gregorio Rodríguez, it follows a filmmaker reconstructing her father’s memory through a Cuban boxer myth, turning cinema into a space where absence becomes dialogue. Machado says: “It is “a hybrid documentary that transforms intimate loss into a universal reflection on memory and bonds.”
“Menarche,” (“Menarquia”) Jairo Gamaliel Ramos Alvarado, Panama, Spain, Peru
Developed by Panama-based Infocus Video Factory Cine & TV, “Menarche” is in preproduction as a Spain–Peru–Panama co-production with Cine y TV Teleandes SRL and Marco Antonio Toledo Oval. Reflecting industry interest in inclusive, community-driven storytelling, the film follows an androgynous pre-teen who, after their father’s death, takes on farm duties while confronting identity through her first menstruation. As Ramos notes, it portrays “ancestral rural knowledge with dignity.” Written by Elisa Puerto Aubel and Ramos, it stars Wendy Jaramillo and Christhian Esquivel Palomino.
“Name and Surname” (“Nombre y Apellidos”), Duván Duque Vargas, Colombia, France
Evidencia Films, founded by Franco Lolli (“Gente de Bien”) and behind Cannes-selected “La Perra,” partners with Continente Pictures and France’s Srab Films (“Les Misérables”) on the project, currently in advanced development and recently shortlisted for Torino Film Lab’s FeatureLab. Produced by Duque Vargas, Capucine Mahé, Franco Lolli, Christophe Barral,and Toufik Ayadi, it reflects a strong Colombia–France co-production model targeting international festivals. Drama follows a teenager drawn back into his father’s violent loan-sharking world, where escape turns into inheritance. As Mahé says, it marks “the culmination of this quest.”
“Not a River” (“No es un río”), Diego Martinez Ulansoky, Mexico, Argentina
Developed by Mexico City-based Caponeto, whose credits include “My Tender Matador” and “The Virgin of the Quarry Lake,” film is in advanced development with Argentina’s Ajimolido Films and currently seeking co-production partners and funding, reflecting ongoing industry demand for cross-border Latin American collaborations. The drama follows Tilo, who travels to a remote island after his father’s death, where buried tensions and unresolved pasts surface. As Ulansoky states, it explores “a territory where the real and the ghostly coexist,” focusing on memory and what remains unspoken.
‘Not a River’ Courtesy of FICG
“Our Lady of Whispers” (“El Camino Amarillo”), Ale García & Carla Sierra, México, Chile
Developed by Mexico-based El Camino Amarillo in co-production with Chile’s La Palma de Oro and La Vieja Rara, the project in development seeks additional financing and international co-production partners. Positioned within Mexico–Chile elevated horror collaborations, the drama follows a grieving mother who invokes La Susurradora after a brutal family loss, gaining destructive powers that reveal revenge as self-consumption. As Sierra states: “Rather than representing horror, we aim for the viewer to inhabit it –uncomfortable, intimate and impossible to look away from.”
“Plaster Virgins” (“Vírgenes de yeso”) Katherina Harder, Chile
Developed by northern Chile-based Volcánica Films alongside Cyan prods (“Medea,” “Delirio” by Alexandra Latishev), the project is produced by Cynthia García Calvo and written by Harder and Elisa Eliash, it reflects a focus on identity-driven narratives within culturally rooted settings. The coming-of-age LGBTQ+ drama follows Rosario, a 14-year-old girl in La Tirana who, amid a vibrant religious festival, experiences a personal awakening through her connection with an older dancer. As García Calvo states, it explores gender roles and social expectations within a unique visual and sonic universe.
“Talia After Talia” (“Talia después de Talia”), Pedro Speroni, Argentina, France, Switzerland
Developed by Argentina-based El Ojo Silva, “Talia After Talia” is in advanced development as a co-production with Les Films de l’Œil Sauvage and Alva Films, with support from the CNC Enhanced Development Grant and Stichting Connected Foundation, reflecting ongoing industry support for international co-productions. The documentary follows Talia, 27, returning to Buenos Aires’ Fuerte Apache after nine years in prison, navigating survival, stigma and autonomy. As Speroni states, the film gives her “a dignified and resonant voice.” “Talia after Talia” completes the trilogy that Speroni began with “Rancho” and “Los Bilbao,” delving into the prison universe.
“That I Die Because I Do Not Die” (“Que Muero Porque No Muero”) Felipe Carmona, Chile, Argentina
Developed by Chile-based El Otro Film, known for Queer Lyon awardee “The Prince” and “The Reborn,” the project is in advanced development with Argentina’s Le Tiro, currently seeking financing, reflecting ongoing interest in auteur-driven Chilean–Argentine co-productions with strong festival positioning. Fronted by Pablo Larraín star Alfredo Castro and Laura Paredes, drama is set in 1970s Chile follows Anglés, a priest and literary critic leading a double life between academia, clandestine Marxist instruction and secret artistic circles, until a liaison with a writer and her CIA-linked husband pulls him into a surreal spiral of political and spiritual collapse. As Carmona states, it explores “the contradiction between culture and barbarism.”
‘That I Die Because I Do Not Die’ Courtesy of FICG
“The Friends of My Parents” (“Los amigos de mis papás”), Romina Tamburello, Argentina
Developed by Argentina-based Pez Cine in co-production with Imval Producciones and El Cielo Cine, and Tamburello’s follow-up to hit “Vera and the Pleasure of Others,” the project is in advanced development. Produced by Santiago King, it follows a standard independent Argentine feature structure focused on character-driven comedy with regional co-production collaboration. The film follows a daughter who tries to help her parents become swingers, leading to an exploration of family boundaries and intimacy dynamics.
“The Infinite Night” (“La Noche Infinita”), Daniela Schneider, México
Developed by Mexico-based Cárcava Cine (“Lost in the Night,” Cannes 2024; “Robe of Gems,” Berlinale Jury Prize 2023; “The Untamed,” Venice Best Director 2018), in co-production with Peluca Films, Cárcava Cine and El Estudio, the project is in development and structured for international financing, with early discussions with French sales agent Luxbox. Produced by Daniela Maung, Fernanda de la Peza, Amat Escalante and Pablo Cruz, it is positioned within a festival-driven auteur slate. The film follows Bertha, a young mother whose family secret destabilizes her life as she becomes obsessed with a woman from a century earlier, where inherited memory, desire and domestic histories collapse across generations.
“The Other Side” (“Del otro lado”), José Luis Rugeles Gracia, Colombia, Brazil, France
Developed by Colombia-based Rhayuela Films, producers of “El Páramo,” “Alias María” and “Rebelión,” “The Other Side” is in development as a co-production with Capuri TV (Brazil) and Promenades (France). The project, starring Claudio Cataño (“One Hundred Years of Solitude”), reflects ongoing industry interest in character-driven Latin American–European collaborations. Drama follows Miguel, a doctor who loses his son and abandons his life, drifting through the streets where he forms fragile bonds with a street dog and a young sex worker. As Rugeles states, it explores “depression, addiction and solitude” shaped by “human fragility.”
‘The Other Side’ Courtesy of FICG
“The Other Voice” (“La otra voz”), Agustina Pérez Rial, Argentina
Gaman Cine, founded by Nicolas Gil Lavedra, behind acclaimed titles “Eami” and “Ls83,” is finalizing development on the documentary, co-produced with Fiord Estudio and Lorolo. The film reconstructs the exile of iconic singer Mercedes Sosa between 1979 and 1982 through unpublished letters and archival material, reflecting a broader industry trend toward archive-driven music documentaries. As Pérez Rial explains, the project reveals “an intimate and little-known dimension… where Mercedes emerges through her own public and private words.” Gil Lavedra, Felicitas Raffo and Emiliano Torres produce.
“The Valley of the Echoes” (“El Valle de los Huesos”), Adán Ruiz, México
Travesía Cine, a Mexico City-based studio focused on auteur-driven cinema, is advancing the documentary in development with co-producer Avalancha Studio, while in discussions for Mexican distribution. Produced by Yuli Rodríguez and Ruiz, it’s set in an industrial town where multiple lives intersect around a skeleton built from found bones, reflecting systemic violence. As Ruiz states, it depicts violence as a social sickness embedded in everyday life. “Using scavenged bones as a narrative bridge, the film connects three fractured lives to reflect on the macabre intersection of industrial exploitation and necropolitics.”
“The Whisperer” (“La Susurradora”), Ale García & Carla Sierra, México
Developed by Mexico-based La Palma de Oro Films and La Vieja Rara, the project is in development. Produced by Antonio Urdapilleta and Valentina Vio and written by Ale García and Carla Sierra, the film follows Alba, who returns to Catemaco after the lynching of her husband and son, and summons La Susurradora, an ancient deity that grants her destructive power in exchange for bodily sacrifice. As she carries out her revenge, she becomes increasingly consumed by the force she invokes.
‘The Whisperer’ Courtesy of FICG
“Why Did You Come Back Every Summer” (“Por qué volvías cada verano”), Lorena Muñoz, Argentina
Developed by Argentina-based Mostra Cine alongside Cindy Teperman SRL and Atrece Creaciones, the project is in advanced development, positioning itself within a strong wave of Latin American films addressing institutional abuse and memory. Produced by Valeria Bistagnino, Tomás Eloy Muñoz Lázaro, Cindy Teperman, Delfina Montecchia and Ana Saura, it focuses on socially driven storytelling. Drama follows Lourdes, 20, who decides to report her uncle, a local police commissioner, for childhood sexual abuse during the summers she spent in his town.
Major productions across the stage and screen have been a cornerstone of Danielle Brooks’ career, from her breakout role in Netflix’s Orange is the New Black to her Broadway debut in The Color Purple, for which she earned a Tony Award nomination for best featured actress in 2016, to the 2023 musical film adaptation of Alice Walker’s book which earned her Oscar and Golden Globe nominations. Yet it’s indie projects, the Juilliard grad says, that make her feel most connected to her craft and purpose.
“Independent films are so incredible because I think they reflect the truth of who we are,” Brooks said during the Miami Film Festival, where she received the Art of Light Award following a screening of her latest project, If I Go Will They Miss Me Tuesday night. “It’s not about big blockbuster movies to make a dollar, it’s about the people. And that’s why I got into this, so that I could be a reflection, the light, because there were people in this industry, artists that were that light for me.”
Brooks stars as Lozita Harris, a mother of three trying to hold her family together as her partner, Ant (J. Alphonse Nicholson), struggles to connect with their son when he returns home from prison in the semi-biographical, mythical feature from Walter Thompson-Hernández.
During the Miami film festival, Brooks chatted with The Hollywood Reporter about why she so deeply believed in the project, which, since its Sundance premiere in January, has been acquired by Rich Spirit, shooting in a public housing complex in Watts and how working on the film inspired her to make her own short.
Your connection to If I Go, Will They Miss Me dates back to Walter Thompson-Hernández’s 2022 short of the same name. What drew you to the project?
My team had come to me and said, “Hey, there’s this film that we want you to think about being involved in. There’s this amazing new up-and-coming director, Walter Thompson Hernandez.” And I’m always like, “Ooh, new. I like,” because that means there’s a new energy that’s being put out into the film industry, and that excites me. So they were like, “Come look at the short.” And I looked at the short, and I was like, “Wow, this is different from what I’ve seen before, but it still has this energy, sort of like a Moonlight, that I liked.” And I loved how he shot Black people, but I also knew that there was passion behind it because I could tell that there wasn’t this big budget that he had, that everything that he was putting out there was community-based. …And when I met with him, we sat down at the London hotel, and we talked for over an hour, and I immediately told my team, “Yes, I’m down.” And this truly was a passion project. This is one of those films that you end up spending money to be in it. It wasn’t something that came with a large check, and I knew I wanted to be a part of it because it felt honest and real. It was so different from anything that I’ve ever played before, people like Sophia [in The Color Purple] or Taystee [in Orange Is the New Black] who were bigger-than-life characters; there was a quietness about her that I was drawn to.
Your character, Lozita, and all of the characters in this film are based on real-life people. What did your preparation look like, and is there a difference in how you approach roles that are biographical in nature versus fictional characters?
It’s very different. I enjoy playing people who are real. I got the chance to play Mahalia Jackson in the past, and each character that you play does require something different, but this one was interesting because Lozita was based on a true person, and so was Big Ant. But unfortunately, the person that I played had passed away, so I wasn’t able to speak with her. Everything that I was learning about her was from her partner, who was still alive, and from Walter, the director, who was good friends with her, and pictures. Pictures tell a thousand words. There’s one thing I really wish I could have had, which was her tattoos, because she had all these tattoos, and I felt like they told such a story about who she was, and she wore braids. So I was like, “I’ve got to make sure I have these braids.” And just how she held her mouth. I got to see pictures of her and her husband and how he would hold her, and all of these things that just told me a story.
What did Walter say it was about Lozita and Ant that made him want to make this film?
It’s this thing about life. None of us asked to be here, but we all have to figure out how to survive it. And that’s what we’re watching this family do is figure out how are we going to survive our circumstances, the things that we’ve been through in the past, how are we going to make it through that? And what are we going to pass to our children? We had multiple conversations about it. And there were a lot of times that it felt too real because we’re shooting in Watts, too. We shot in the projects, and so we weren’t in a position to say, “All right, everybody, leave your homes for a while and come back in tomorrow.” We’re in their environment. And sometimes it was really real. Life imitates art, and art imitates life, so there was no moment for me to escape the character. I felt like I was always close to her because I would see kids beautifully playing outside with skates on. This is not a community that has access to iPads and all of that stuff. So the kids are outside watching us, and that was amazing because now I’m asking, “What do you want to be when you grow up?” [and they say] “I want to be an actor,” because they see a reflection. The children are just as chocolate as me or as round-faced as me.
You had an amazing screen partner in J. Alphonse Nicholson, and there’s so much emotion that comes out in the scenes with you two in the bedroom, trying to figure this relationship out. Were you all big on rehearsal? Were you just finding the emotion in the moment?
We did have some rehearsal. We didn’t have much time, though, but let me talk about J. Alphonse. I freaking love that brother. He is one of the best scene partners ever, super talented, and I’m going to take some credit. I was like, Walter, “We need him,” and Walter was like, “OK, let me sit down with him,” and they just hit it off. He brings so much to every character that he plays, but the way that he works, he allows you to be vulnerable. Being in a space with him, having to take my shirt off and have intimate scenes, it was a safety with the way in which he works that I felt comfortable to give all myself to her, no problem. We had some very personal conversations about personal experiences we both have been through, because I’m going to tell you right now, I don’t look like what I’ve been through. I say that because I can really relate to [Lozita] and the same with J. [and his character] so there are moments where it felt like this is too much, but we had each other to be like, “You good?” And that’s important. It’s very important to be able to trust your same partner that way.
What was your reaction when you saw the finished film?
I cried like a baby. It messed me up…it’s like, this is what it is like to say, “I love you, but you’re not good for me. You’re not healing me.” It’s such a beautiful reflection of, again, survival, how tough life can be, but yet we’ve got to push through it. And what does love really look like for my character? Love is getting up out of there. She had to go for her family, for herself, for her kids, and watching Ant, he’s having to take a moment and reflect. He’s trying to do the right thing, but it’s too late.
The overall journey of this film is inspirational, I think, especially for the audience at a film festival like this. Walter made his original short film in 2022 and won the jury award at Sundance; in 2023 it was selected for the Sundance Institute Screenwriters & Directors Lab; in 2025 it got two grants and you all made the feature film, then it had its Sundance premiere in January 2026 and in March it was acquired by Rich Spirit so now we’re looking at a theatrical release this fall. Did you expect to be able to take this project this far? What would you say aspiring filmmakers should take away from this journey?
Did I expect this film to go this far? Yes, because it is good. Like you just know. And there’s something special about this film. I think the hard part is, is it the right timing? And I do feel like it’s the right time — we’re in a crazy time, and we’re trying to figure it out — but I do feel like it’s the right time. What aspiring filmmakers can take is that you can do this thing. I am one of the aspiring filmmakers, and it’s because of the way that I saw [Walter] work that I ended up shooting my own short film. If you have a passion for it, get it done. There are people that will align with that passion. There are people that are trying to figure this thing out, too, and find their community. Just start talking about it and say, “Hey, this is what I want to do.” And it might not be that first person you run into, but somebody will say yes. And one other thing that I want to say while I have the mic is I feel like this is a film that will be successful by word of mouth. So we’re going to need you.
When Kevin (voiced by Jason Schwartzman), star of Amazon’s new animated series Kevin, suffers a bad breakup, he does what any young man in the big city might do.
He moves out of his old place, picks up new friends and new interests, explores his former neighborhood with fresh eyes. He takes time alone to think about what he really wants out of a relationship, or out of life. He considers new potential life partners, and eventually courts one. Occasionally, unhappily, he backslides into contact with his ex.
Kevin
The Bottom Line
An amiable hangout comedy, with a feline twist.
Airdate: Monday, April 20 (Prime Video) Cast: Jason Schwartzman, Amy Sedaris, John Waters, Whoopi Goldberg, Aparna Nancherla, Gil Ozeri, Aubrey Plaza Creators: Aubrey Plaza, Joe Wengert
What makes Kevin’s journey more unexpected than most is that he is no fleece-vested banker or tattooed barista, but a tuxedo cat; his split is not with a lover but with his human owners. The feline twist is enough to make Kevin, created by Joe Wengert and Aubrey Plaza, feel like a fresh spin on the hangout comedy. If it only occasionally lives up to its fullest potential for humor and heart, it eventually finds enough warmth to be worth curling up with.
Doubtless a huge chunk of the target audience for Kevin just read that plot description and prepared to react in much the same way that Seth (Gil Ozeri), a normally milquetoast animal shelter manager, does to an owner who’d dared give up his cat: “Abandoning a furry companion is the ultimate no no!” he screeches. “You belong in the Hague, asshole!” So rest assured that this is no Sarah MacLachlan-soundtracked sob story of abandonment.
It is, instead, Kevin who leaves when the couple who own him announce they’re breaking up, deciding he’d rather take his chances by himself than follow Dana (Plaza) to her new home. Since Kevin is set in a universe that sits somewhere between The Secret Life of Pets and Bojack Horseman on the spectrum of anthropomorphized creatures — animals communicate in English with humans and sit next to them at the bar or on the train, but don’t seem to rent apartments or, for the most part, have steady jobs — Dana has not much choice but to let him go and hope he wants to return someday.
After a disastrous evening in Central Park, during which the squirrels in the trees mock the house cat’s spectacular unsuitability for life in the “wild,” Kevin makes his way to Seth’s Furrever Friends shelter in Astoria, Queens. There, he makes a new home amid a motley crew that also includes an imperious Persian named Armando (an excellent John Waters); a dopey and diseased kitten named Judy (Aparna Nancherla); Seth’s bossy Shih Tzu (a hilariously mean Amy Sedaris); and Cupcake (Whoopi Goldberg), a feral cat with side hustles streaming on an OnlyFans-esque website and selling her vomit on the dark web. (How she’s navigating the banking system and what she needs the money for in the first place are not questions Kevin really gets around to answering. It’s best just not to think about the practicalities too hard.)
Especially in its early going, Kevin is hit or miss as a vehicle for humor. Some of its jokes, like a bit about a duck’s corkscrew-shaped penis, smack of a series trying too hard to declare that it’s Not Your Little Sister’s Animal Cartoon. Others, like a hoary line about cats being baffled by why people are always scooping litter, make no sense in a universe where cats have opposable thumbs and speak human language. At least one subplot, involving an equine Broadway star named Patti LuPony who’s voiced by Patti LuPone, feels like a Bojack Horseman castoff. Lots more punchlines just sort of sit there, neither offensive enough to provoke groans nor clever enough to coax laughs.
But as the series found its groove over its eight half-hours — and, perhaps, as I grew more accustomed to its off-kilter sense of humor — the ratio of hits to misses improves. Kevin eventually falls into the likable rhythms of a New York hangout comedy à la Friends or Seinfeld or, more recently, Adults, albeit with a much higher level of absurdity. The series feels most surprising and most delightful when it gives itself over to full-bore silliness, as with a C-plot in which a colony of ants crown Judy as their new queen, or another in which Kevin meets Rat Pizza — a sentient slice of pizza that drags a dead rat around and bitterly laments how unfavorably he’s treated compared to his celebrity inverse.
Eventually, somewhere amid all the Gen Z-coded kittens and the incestuous cat romances, something more earnest starts to emerge. There’s real sweetness in the way the characters relate to each other, whether it’s Armando reminding Judy to hold out for the right forever home rather than let herself get adopted by a narcissistic nepo baby who sees her only as a prop for her art, or in Cupcake nudging Armando to come to terms with a past heartbreak involving a previous owner.
Kevin’s meandering search to figure out what he wants out of his next human companion (or if, indeed, he wants another human companion at all) will feel relatable to anyone who’s ever gotten out of a long-term relationship unsure who they might be outside of it — if they ever even actually liked Halloween or the band Pavement or the show Say Yes to the Dress, or just assumed they did because their partner did.
But embedded within his quest is also the more pet-specific acknowledgment that though we may take them in and feed them and link our contact addresses to their microchips, our animal companions have interiorities of their own, wants and needs that might coincide with our own or might not. Kevin, which press materials indicate is based on a real cat and a real breakup, becomes a tender love letter to the unknowability of the creatures who’ve deigned to let us share in their lives. Speaking as a proud cat lady, I can’t think of a nicer thing to say about Plaza and Wengert than this: They seem like they must be absolutely wonderful pet owners.
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As someone who hadn’t been to Coachella since 2014, this year’s festival felt deeply familiar in many ways, and entirely unrecognizable in others. While 2014, of course, had its fair share of brand partners, sponsored parties and experiential marketing, they were a drop in the bucket compared to what has developed in just 12 years time.
Cut to 2026: Brand activations are popping up by the dozens, and Coachella is filled with — what have now been dubbed — “festivals within a festival,” or smaller curated experiences — often exclusive — within the larger event (think Revolve Fest or Kourtney Kardashian Barker‘s Camp Poosh). But other than the music (and the desert heat), there’s another major throughline between Coachella then and Coachella now: Heineken.
The Dutch brewing company, Coachella’s official beer sponsor for 23 consecutive years, is the festival’s longest-standing brand partner. Well before the introduction of Heineken House (the brand’s dedicated music stage and beer garden), which, funnily enough, made its Coachella debut in 2014 (I remember because I was 18 and couldn’t get in), the brewer has always held a prominent role at the festival. But how has Coachella’s most enduring partner stayed relevant in the age of activations? The short answer: community. The slightly longer answer? By innovating a piece of technology that brings people back to what OG Coachella felt like: connected.
“The Clinker,” first introduced at Weekend One of Coachella 2026, is a smart device festivalgoers place around their Heineken cans that lights up to signal music compatibility upon contact with another Clinker. By syncing with each user’s Spotify or YouTube Music data, the device allows two fans to, first, see their exact overlap in music taste, and then, share social media handles to stay connected throughout the festival and beyond.
Festivalgoers using “The Clinker” at Heineken House during Coachella Weekend One.
Heineken
“Heineken developed the Heineken House to bring fans together over music with a beer in hand,” Alison Payne, Heineken USA’s Chief Marketing Officer, exclusively tells The Hollywood Reporter. “This year, we went a step further by creating something that actively brings people together in real time. ‘The Clinker’ turns a simple ‘cheers’ into a conversation starter, leaving festival goers with a new connection or memory that will live on once the dust settles from the festival.”
Beyond the new tech, crowds were pulled to the Heineken House for its stacked lineup. Weekend One included Wale, Sean Paul, Coi Leray, Motion City Soundtrack and Less Than Jake, while Big Boi will replace Paul for Weekend Two. And since Heineken House is a closed off space with only one entry point, there’s an intentional effort to make a massive festival feel intimate.
This theme of fostering connection prevailed throughout the festival, with an overarching goal to bring Coachella back to its roots. (In fact, many fans noted that 2026 had a similar feeling to 2016.) Instead of dividing the festival, the standalone activations aimed to cultivate community. Right around the corner from Heineken House, Aperol opted for a lounge-style day club, while Soho House brought its same private, elevated feel to The Hideout. Meanwhile, just across the grass, Absolut’s Heat Haus was a star-studded affair with throwback DJ sets and Absolut Tabasco Vodka on the ready. Anyone over 21 could enter, but the space still managed to feel private and personal.
Sean Paul performs onstage at Coachella’s Heineken House on April 11, 2026.
Phillip Faraone/Getty Images for Heineken
At a time when — even in the most crowded of spaces — it’s easier than ever to feel isolated, brands are actively choosing to fuel connection. We’ll “Clink” to that.
On today’s episode of Variety podcast “Strictly Business,” Aleen Dreksler, CEO and founder of Betches Media, details the digital media brand’s origin story and why it blossomed into a hub for comedy and community designed for women. The episode also features a separate conversation from the SXSW festival that highlighted Variety‘s recent 10 Creators to Watch list.
Listen to the full podcast here
Dreksler traces Betches Media‘s rise from its humble beginnings with two friends in college at a time when Dreksler thought she was on her way to medical school. But the opportunity to become a digital media entrepreneur got in the way. Betches’ early DIY content efforts on Instagram and Facebook were buzzy enough to land the trio a book deal, which proved to be the foundation for a brand that combines comedy and community and lifestyle topics.
“The key to what Betches the brand really represents is — it’s your funny best friend in the group chat, the one that will say the thing with you. And that is what we represent for people,” Dreksler says. “That is what the brand is. The reason why I get up every day is really to make women laugh and to feel seen and understood and all of our thoughts that we’re thinking throughout the day, whether it is the latest pop culture or what’s going on in Bravo, what’s going on in the white House, or what’s going on in your dating life?”
Dreksler has seen the digital media eco-system evolve and grow significantly since Betches first hung out its shingle in 2011.
“Right now, my engagement rate is one of the highest across all women’s media. And now the key metric for me is DMs — what are people sending to each other in their DMs? What share percentage of all of our engagement? So it’s not just engagement rate, it’s about share percentage. So that’s where we’re looking in terms of where I think the industry is going to go,” she says.
The episode also features a separate conversation with members of Variety‘s 10 Creators to Watch list that was recorded March 14 at the SXSW festival in Austin, Texas.
The group speaks frankly with Variety reporter Selome Hailu about living and working online, and the algorithm’s grip on their creative output. It rewards consistency and punishes experimentation, and the psychological cost of chasing it, they said, is real. Creator Vinny Thomas warned of a very specific creative hazard. “There are people who will have gone dead behind the eyes,” he says, “because they know what they have to do and they’ll get up there and do it, but the light is gone.”
Kennedy French contributed to this report.
“Strictly Business” is Variety’s weekly interview podcast featuring conversations with industry leaders about the business of media and entertainment. (Please click here to subscribe to our free newsletter.) New episodes debut every Wednesday and can be downloaded at Apple Podcasts, Amazon Music, Spotify, Google Play, SoundCloud and more.
Record Store Day may know what it’s doing, traditionally scheduling the biggest sales day of the year for independent music retailers on the Saturday after tax day. You are very, very, very confident you’re going to be getting a hefty refund, and that’s why you can blow into your local shop and lay down hundreds of Benjamins on an actual stack of wax, right? Or, you’ve just realized that you’re so far behind on what you owe the IRS, the only momentary relief for your despair is some retail therapy. Whatever the case, it’s time to go tithing in your nearest brick-and-mortar house of musical worship, picking up as many vinyl exclusives as your arms and wallet can handle. Consumerism feels good in a place like this.
The long list of vinyl exclusives (and at least a couple of CDs, too) has something for the proverbial everybody, from youth-skewing Taylor Swift, Katseye and “Kpop Demon Hunters” releases to new entries from dad-rock dynasties like Bruce Springsteen, Pink Floyd and Neil Young … along with plenty of indie-leaning fare (hello, Dijon) and jazz. We couldn’t cover all 355 releases, but we’ve picked out about a tenth of them to spotlight here as highlights of America’s most crucial holiday. (And for handy reference, we’ve included a full list of every title if you scroll to the end.)
Bruce Springsteen, ‘Live From Asbury Park 2024’
(6050 copies on LP, black vinyl, RSD Exclusive) (3700 copies on compact disc, RSD First)
He’s a prince among No Kings proponents. And now you can relive his 2024 tour, whether or not you’ve been able to make it to the ’26. Previously available only on Nugs and never on a physical format, this captures his homecoming performance in Asbury Park at the 2024 Sea.Hear.Now festival and spans over three hours of a boardwalk-adjacent performance that took place in front of 35,000 people. Some music fans who are still partial to CDs complain that Record Store Day is too exclusively fixated on vinyl, so they should be happy that Springsteen and company have seen fit to release this in both formats for indie stores, spread across 5 LPs or two CDs. By the way, if wrangling five records feels a little unwieldy, each disc does come in its own dust jacket with its own cover photo, encased in a slipcase. (The LP version is marked RSD Exclusive, meaning this is the only pressing that will ever be done; the CD set is RSD First, meaning that it will probably be repressed for a more general release.)
It’s probably safe to say that a good part of whatever lineup you’re seeing in front of stores has to do with Swiftie interest in RSD, thanks to a colorful 7-inch single that was announced after the initial lineup of exclusives went out. The big mystery is how many are being pressed and released to stores, as Swift’s camp seems to have wanted to keep that under wraps for their recent RSD releases, whereas there’s a specific quantity given for every other limited edition. If we had to hazard a guess, they aren’t releasing a number because it’s a truly massive pressing, as opposed to something that will be an immediate collectors’ item. Our basis for saying that is the release this time last year of a “Fortnight” single, which also didn’t have the quantity revealed, but was so well-stocked in some stores that they didn’t sell out for days or weeks. But if you’re a hardcore fan, do you really want to take a chance that there will be gobs and gobs of these, and sleep in? Of course you don’t. It doesn’t hurt the must-have factor that Swift’s violet disc — so colored after Ms. Taylor’s eyes, of course — is the prettiest colored vinyl product she’s yet put out.
Brandi Carlile, ‘Live At Easy Street Records Vol II’
(8,000 copies, black vinyl, Record Store Day Exclusive)
Who doesn’t love a good sequel? The first in-store live EP that Carlile released, “Live at Easy Street Records,” came out toward the beginning of her career, in 2007 — in CD form only, by the way — and is tough to find. This followup, 19 years later, is also coming out in a single physical format, but it’s vinyl only, as a sign of how things have changed for music retail, as they also have for Carlile’s explosive career. A pressing of 8,000 is not bad, so this may not become quite so much of a collectors’ item as its long-distant predecessor. But you also shouldn’t expect a limited live release from one of America’s most justifiably celebrated concert performers to stick around on shelves terribly long. (Plus, who can be sure that Easy Street, her hometown store in Seattle, didn’t claim a lot of the stock for themselves?)
Neil Young & the Chrome Hearts, ‘As Time Explodes’
(6000 copies, clear vinyl, RSD First)
As semiannual RSD events roll around, Young has done a good job of letting celebrants get a jump on the releases he has coming out, by allowing Record Store Day shoppers to get these albums a week or two before the general market does, and in special limited editions with some sort of different packaging angle. “As Time Explodes,” a brand new double live album recorded last year, will get a general release to all retail on May 1, in both vinyl and CD formats. But besides getting it two weeks before everyone else, RSD customers also get it on clear vinyl with an exclusive lyric poster and gatefold jacket.
Pink Floyd, ‘Live From the Los Angeles Sports Arena, April 26th, 1975’
(15,400 copies, clear vinyl, RSD Exclusive)
This live album first got an official release in December as part of the “Wish You Were Here” 50th anniversary boxed set, but it was controversial at the time for a couple of reasons. One is that, in that heft collection, it was only included on a Blu-ray component, and not available on vinyl or CD at the time. This stand-alone release of the concert for RSD in both those formats solves that issue. That still leaves the other issue that some fans had: The recording is sourced from an audience tape, captured by a famous bootlegger in the audience. Given the rarity of professionally recorded Floyd shows from the mid-’70s, though, most fans who ever heard it on bootleg back in the day agreed that it was awfully close to soundboard quality, and might be mistaken for it. That was even before it got an audio upgrade from one of the archival wizards fans trust most, Steven Wilson. As with the aforementioned Springsteen release, this is a rare RSD release that has something to satisfy the small contingent of music fans who are holding onto their CD players but couldn’t care less about turntables. (The LP version is RSD Exclusive, meaning it’s kind of now or never; the CD version is RSD First, which means it could stay in print forever.)
Tom Petty & the Heartbreakers, ‘July 16, 1978 – Paradise Theater, Boston, MA‘
(8000 copies, pink and green translucent splatter color vinyl, RSD Exclusive)
The tour behind the Heartbreakers’ second album, “You’re Gonna Get It,” was recorded on 2-track at the Paradise and broadcast by local rock radio station WBCN-FM. While bootlegs have been out there for decades, the estate is finally making the concert officially available, with audio restoration done by the longtime Tom associate everyone trusts with the keys to the Petty vaults, Ryan Ulyate. It’s on 180g pink and green translucent splatter color vinyl — thick and juicy, in other words — and contains a vintage-style tour sticky pass. The plain white die-cut cover has built-in distress marks, to fool you (not really) into believing this really did get the release it deserved in ’78 and has been getting wear and tear on your LP shelf ever since.
Laufey, ‘A Matter of Time: Live at Madison Square Garden’
(17,000 copies, Big Apple red vinyl, RSD First)
Here’s another one that, like the Taylor Swift single, was announced after the initial lineup was revealed, so you might’ve missed it if you made your shopping list and didn’t check it twice back in February. A year ago at this time, Laufey gave Record Store Day an exclusive release recorded in concert at the Hollywood Bowl, and now she shows she has no favoritism toward the west coast by putting out a comparable release recorded at MSG. It was captured at the New York arena in October, so feels fairly hot off the presses. Packaging includes a booklet with previously unseen photos and drafts of the tour production. The pressing quantity, 17,000, is a large one, as RSD exclusives go, but her label may believe that her feverish cult will be expanding even more, as the on-sale coincides with the second of her two weekends of Coachella performances. (Speaking of which… maybe they’ll be releasing her Coachella set for RSD 2027?)
Lucy Dacus, ‘Planting Tomatoes’
(2000 copies, 7-inch black vinyl, RSD First)
Dacus’ RSD release was downright secretive at first; when the RSD lineup was first announced in January, this was the only one of hundreds of releases announced that didn’t even have a title. It is a mystery no more. “Planting Tomatoes” is coming out exclusively for RSD via this 7-inch single before it comes out on streaming platforms on April 24. We got a sneak preview of the tune, and it’s terrific — as cheerfully rocking a number as Dacus has ever done, even though its theme is something as gentle as morality and the preciousness of life. As she explained it in a teaser statement: “It’s about trying to stay present and grateful when you know that life ends, for yourself and everyone you love, and how to avoid disenchantment by seeing through as many of your little ideas as possible.” In other words, life is short, and (sorry) so is the supply of this possibly under-pressed record.
Roy Hargrove, ‘Bern’
(2200 copies, black vinyl, RSD Exclusiver)
The jazz world is still mourning — and probably always will be — the untimely loss of the great trumpeter in 2018 at age 49. As long as they can keep finding live sets like this one, the sting of not getting fresh studio recordings may not be quite so harsh. He was known for his appeal to everyone from jazz traditionalists to neo-soul stirrers and hip-hoppers, and it’s evident why in a performance — captured at the Bern Jazz Festival in 2000, when he was still coming in hot, at 30 — that bops in an assortment of grooves. It’s a single LP but comes with the kind of booklet that you’d expect from the more expansive collections so often put together by co-producer Zev Feldman, filled with photos and testimonials as well as liner notes by the celebrated jazz writer Nate Chinen. Feeling the Bern is a must, this RSD. (But if you’re not a vinyl person, CD and download versions will follow a week later, on April 24.)
Crosby, Stills & Nash, ‘The Solo Albums’
(1950 copies, black vinyl, RSD Exclusive)
An ingenious idea for a boxed set: bundling the debut solo albums that were released by David Crosby, Stephen Stills and Graham Nash in the wake of the CSNY smash “Déjà vu” — with a fourth LP of demos and sessions from all three albums. You can dream about what kind of classic CSN album might have resulted if they’d actually reteamed for each other’s “Laughing,” “Love the One You”re With” and “Military Madness,” but in truth all the music fans of that era benefited from. The bonus discs, marked “Solo Rarities,” is a fun reason to pick this up even if you already own the individual albums, as it alternates between the three. Change partners, indeed.
Talking Heads, ‘The CBS/Columbia Demos’
(7000 copies, black vinyl, RSD Exclusive)
And they were… This is the first vinyl release of demo sessions recorded by the original three-piece lineup of Talking Heads for CBS/Columbia in 1975. Obviously, that relationship did not take, with Byrne and company opting to go Sire. But as a result of their flirtation, we now get to hear these 15 tracks across two LPs at 45rpm. The track list includes “Psycho Killer,” ”Love –> Building On Fire” and “Warning Sign.” It’s a vinyl breakout from the upcoming 3-CD boxed set, “Tentative Decisions: Demos & Live”; their catalog’s overseers have done a nice job over the past few RSD events of giving us all the pieces of that collection in individualized LP editions that have become quickly snapped-up must-haves.
Billy Strings, ‘Tiny Desk’
(7000 copies, white vinyl, RSD Exclusive)
A 12-inch EP on “milky white” vinyl brings Strings’ live set from public radio’s desk to yours, and features the virtuoso and his band taking to the Tiny Desk and getting a big sound out of “Red Daisy,” “My Alice,” “Malfunction Junction” and Gild the Lily.”
Hilary Duff, ‘(Mine)’
(10,000 copies, silver vinyl, RSD Exclusive)
The Duff-assance continues in high fashion with this interesting side project. It features newly re-recorded versions of her greatest hits, including “Come Clean (Mine)” and “What Dreams Are Made Of (Mine),” on silver vinyl. Fans have some familiarity with the concept. as the album already came out recently on streaming. But this is the first physical artifact of Duff using her mature voice to revisit her arguably pre-mature material, letting us decide for ourselves if the child really was mother to the woman.
John Prine, ‘BBC Sessions’ and ‘Lost Dogs and Mixed Blessings’
(7100 copies, “BBC Sessions”; 2000 copies, “Found Dogs”; both black vinyl, RSD Exclusive)
The first official release of his BBC sessions from the early ‘70s includes favorites from the legendary artist’s first two albums. It’s one of two Prine releases this RSD. This one is a newly curated archival release celebrating the 30th anniversary of “Lost Dogs & Mixed Blessings,” with alternate versions, acoustic performances, and five previously unreleased tracks. The jacket is foil-stamped and numbered. A few of the tracks have been previously issued on CD deluxe editions, but the last four tracks on side B have been unreleased in any format.
Various Artists, ‘KPop Demon Hunters (Soundtrack from the Netflix Film) – HUNTR/X Edition’ and ‘KPop Demon Hunters (Soundtrack from the Netflix Film) – Saja Boys Edition’
Fans of the franchise will be casting their vote for either Huntr/X or Saja Boys, unless they can find and afford both editions — two different “special effect vinyl” versions of the soundtrack featuring original art cover by Marion Bordeyne plus a fold-out poster, sticker sheet, and three snapshot cards. These of course are not the first or only chances to get the “Demon Hunters” soundtrack on vinyl, but these two editions are exclusive to RSD, for anyone determined to achieve some sort of “Golden” standard by collecting ‘em all.
Brian Wilson, ‘On Tour 1999-2007’
(2000 units, marble vinyl, RSD Exclusive)
Oglio, the label that recently brought you a reissue of the classic Brian Wilson album “Live at the Roxy Theatre” as a three-LP boxed set, follows that up with another gem: the first-time issue of “On Tour 1999-2007,” a new single-LP compilation authorized by the estate and produced and engineered by a long-time key figure in the camp, Mark Linett. One look at the track list and you see how this is aimed at the serious Brian aficionado, as it starts off with “This Could Be the Night” (too great a song to have gotten buried with Rodney Bingenheimer’s KROQ show) and, from there, moving on to such solo and Beach Boys cult favorites as “Melt Away,” “The Night Was So Young,” “Marcella,” “Friends” and “Our Prayer/Heroes & Villains,” plus a concluding cover of “She’s Leaving Home.” The gatefold jacket includes photos of Wilson with some of his most beloved band members from these prime touring years. Come on a safari with them, to the land of deeper tracks.
Ahmad Jamal, ‘At the Jazz Showcase: Live in Chicago’
(2000 copies, black vinyl, RSD Exclusive)
Resonance’s all-stars worked to bring this project to light, with Zev Feldman producing and label founder/engineer George Klabin restoring and mastering from the original tapes, recorded in 1976 and previously unreleased. The material ranges from Duke Ellington’s “Prelude to a Kiss” to an Antonio Carlos Jobim bossa nova to the wilder fusion of Herbie Hancock’s “Dolphin Dance” to his take on “Theme From M*A*S*H”… to his own original composition “Ahmad’s Song.” Jazz pianist and Jamal scholar Joe Alterman contributes to Resonance’s usual authoritative liner notes, as the label goes further toward taking up the musician as one of its in-house favorites.
Dijon, ‘How Do You Feel About Getting Married?’
(4400 copies, brick-color vinyl, RSD Exclusive)
Some more excellent Coachella timing, as old and new fans who just caught Dijon Duenas and his big band in Indio or on the livestream will be looking to bulk up on his catalog. The first-ever vinyl issue of this 2020 EP is a good place to start, recorded at a time when he’d just signed to Warner Bros. and already had several independent EPs and singles under his belt yet still hadn’t released a full-length yet. In the past year or two, Dijon’s star has risen so greatly that it’s nice to look back on a time when we weren’t yet betrothed, via this fuzz-rocky origin story.
Robert Plant, ‘Saving Grace: All That Glitters… with Suzi Dian’
(3500 copies, black vinyl, RSD Exclusive)
As an extension of Plant’s and Dian’s “Saving Grace” album, this EP offers four previously unreleased studio recordings: the traditional “Blackest Crow,” Bert Jansch’s “Poison,” Gillian Welch’s “Orphan Girl” and the Ted Daryll/Greg Richards song “She Cried.”
Freddie King, ‘Feelin’ Alright: The Complete 1975 Nancy Pulsations Concert’
(2050 copies, black vinyl, RSD First)
The blues legend performed in front of 50,000 fans at France’s Nancy Jazz Pulsations Festival in 1975, the year before he died, captured on recordings unreleased until Zev Feldman brought the tapes to their due justice now, just over a half-century after that triumphant, autumnal moment. As you might guess from the title, King covers Dave Mason’s “Feelin’ Alright” along with standards like “Got My Mojo Workin’,” “Stormy Monday” and “Have You Ever Loved a Woman.” Historian Cary Baker, who was deeply rooted in Chicago blues before becoming a fixture of the L.A. music industry, contributed the absorbing liner notes, and ZZ Top’s Billy F. Gibbons gets a word or two in, too.
Miles Davis, ‘The New Sounds (Mono 10″)’
(2000 copies, black vinyl, RSD Exclusive)
A 75th anniversary reissue of Davis’ first album as a bandleader, this 10-inch, four-song EP was cut AAA from the original mono tapes by Jeff Powell at Take Out Vinyl. “It’s Only a Paper Moon,” goes Davis’ closing song, and the packaging here is “only” a Stoughton tip-on jacket that perfectly reproduces the original package design; that is, you won’t find a bar code or anything that post-dates 1961 anywhere but the shrink-wrap sticker. This sublime revisiting of some of his breakout work is proof that Miles was Miles before he was Miles.
Joni Mitchell, ‘For the Roses’
(3500 copies, rose color vinyl, RSD Exclusive)
For her 1972 album, Mitchell originally had intended the album cover to feature a horse with roses coming out of its hind end, reflecting her view of the music business. Eventually cooler heads (or asses) prevailed, and she compromised and agreed to use the Joel Bernstein photo that was ultimately the album’s cover. But this limited edition for Record Store Day restores her original vision for the cover for the first time, which is actually lovelier than any “horses’s ass” description would suggest. Even loveilier, this special pressing comes on rose-colored vinyl.
Gaby Moreno, ‘Live From KCRW Morning Becomes Eclectic’
(1000 copies, black vinyl, RSD Limited Run/Regional Focus)
Gaby Moreno is one of L.A.’s great musical treasures, and it’s fitting that she would be captured for this release as heard on L.A.’s arguably most respected music station, KCRW. Her being an integral part of the SoCal music scene only partly has to do with her status as one of the area’s most accomplished bilingual performers, but that doesn’t hurt; this mostly English-language set ends with the Guatemalan anthem “Luna de Xelaju.” The in-studio set was recorded in early 2024 following the release of her acclaimed “Dusk,” and as it turns out, sunset becomes eclectic, too.
Bill Evans, ‘At The BBC: The Complete 1965 London Sets’
(3500 copies, black vinyl, RSD Exclusive)
Bill Evans is nearly synonymous with RSD, at least to a certain subset of jazz aficionados who reliably look forward to the releases that come from the vault and his estate. This two-LP set is the first official release taken from two Bill Evans Trio shows at the BBC Television Theatre in 1965, originally performed for the program “Jazz 625,” with bassist Chuck Israels and drummer Larry Bunker completing his trio. An extensive booklet includes photographs from the show and liner notes by Evans authority Marc Myers along with interviews with Israels and James Pearson, a pianist and the director of London’s Ronnie Scott’s jazz club. It’s “jazz detective” Zev Feldman’s 15th production in association with the Evans estate, taking material that had previously been relegated to laserdisc back in the day and remastering it for the highest quality pure audio. “We were damn near perfect at the BBC,” Israels says with pride in the booklet, 61 years later, and who would take up the dare to disagree? (The 2-LP set can also be bought on CD and digital download on April 24.)
Katseye, ‘Touch / Gabriela – Tour Arrangements & Acapella Versions‘
(8000 copies, pink and red splatter vinyl, RSD First)
What’s the matter, Kat’s got your dollar? They will if you or your loved ones have to have a record that includes “Touch” and “Gabriela,” each heard in both “tour” and a cappella versions on one side of a 12-inch disc, pressed on pink-and-red splatter vinyl, with an etching on the B-side.
Joe Henderson, ‘Consonance: Live at the Jazz Showcase’
(2000 copies, black vinyl, RSD Exclusive)
Resonance Records is taking on the audio archives of the Jazz Showcase club in Chicago, and this three-LP set represents the first release in what looks to be a long and fruitful dip into that unexplored vault. The recordings of the sax great date to 1978, as he led a quartet that included bassist Steve Rodby (pre-Pat Metheny), drummer Danny Spencer and pianist Joanne Brackeen, all of them ready to go fast and furious. (A 2-CD set will follow on April 24, for the non-turntable-inclined.)
John Lennon, ‘Love Meditation Mixes’
(4500 copies, iridescent pearl arctic vinyl, RSD First)
Are you ready for a three-LP set that is based entirely on one song? You might be if you are a fan of the Lennon-Ono family, or just deeply curious about the myriad ambient ways one tune can be turned. Sean Ono Lennon has gone way beyond what we would normally call remixing in his approach to his father’s song “Love” from the 1970 “Plastic Ono Band” album, with nine “re-imagined Meditation Mixes” spread across six sides. As an additional novelty, the official description notes: “Side B on LP3 features nine unique 1.8 second mantras that play continuously in the vinyl’s run out grooves to create infinite loops.” Ono Lennon has been up to this before, having similarly done nine Meditation Mixes of “Mind Games” last year. The scion says there’s some science to this: “Four of the tracks are presented as Binaural Beat versions that each focus on different types of brain waves: Beta, Delta, Gamma, and Theta. … these tracks feature a Binaural Beat, an auditory illusion created within the brain when the left and right ears hear two slightly different frequencies whose difference is perceived as a new frequency which can activate different brain patterns for scientifically proven therapeutic effects.” Turn on your mind, detox and float upstream?
Runt w/ Todd Rundgren, ‘The Necessary Cosmic Frenzy’
(3000 copies, transparent light blue vinyl, RSD Exclusive)
Rhino has been good about rifling through Todd Rundgren’s Bearsville catalog for color-vinyl reissues of his classic studio albums for RSD, but some of us have been patiently waiting for rarer material. Now we’re getting it. When Rundgren laid down this live performance for Philadelphia’s WMMR from the city’s Sigma Sound Studios on June 30th, 1971, it was under his fading band moniker, Runt. But this release calls it “the first-ever solo Todd Rundgren performance,” which they’re able to qualify as such by the fact that he was taking up a new cast of players at this point, including future Utopia keyboardist Mark “Moogy” Klingman. Not many of these Runt-era songs survived into later Todd setlists — mainly “Broke Down and Busted” and his enduring soul man cover of “Ooh Baby Baby” — so it’s a treat to hear the then-baby-faced star already in his prime but not yet primed to have to do “Hello, It’s Me.” Preeminent Rundgren scholar Paul Myers again puts it all in context in savvy liner notes.
Cecil Taylor Unit, ‘Fragments: The Complete1969 Salle Pleyel Concerts’
(1550 copies, black vinyl, RSD Exclusive)
The avant-garde pianist is heard in this three-LP set in a collection of previously unreleased performances from 1969, with a band he formed that lasted only a year (with tenor sax player/flutist Sam Rivers grafted onto a trio Taylor had going with alto sax player Jimmy Lyons and drummer Andrew Cyrille). The band’s sets then “consisted of a single marathon piece, created anew each time they took the stage,” in varying length — hence full-side tracks here labeled as “Fragments of a Dedication to Duke Ellington” (versions 1 and 2). Cyrille, last survivng member of the quartet, speaks up in the liner notes, along with admirers like Jack DeJohnette. 1969 was a heady year in many genres, but no one was doing music any more mind-bending.
The Who, ‘A Quick One’
(5000 units, color vinyl, RSD First)
Part of a series of deluxe RSD reissues from the Who’s catalog, “A Quick One” comes as a double-LP featuring the original mono mix on one disc and an LP of alternate versions and B-sides, on color vinyl.
Steely Dan, ‘Alive in America’
(4000 copies, black vinyl, RSD Exclusive)
An official Steely Dan album that has never been available on vinyl, until now? Hard to believe but true. This two-LP set marks what the label calls “an audiophile-grade document” of the duo’s first reunion tour in the mid-1990s.
The dB’s, ‘Cycles Per Second: US Tour 2024’
(1500 copies, black vinyl, RSD Frist)
After being dormant for a dozen years, the dB’s reunited two years ago for a short but celebrated club tour, focused largely but not entirely on material from their first two early ’80s albums, which had just been freshly reissued on vinyl. That happy occasion is commemorated in a 13-track album that is the band’s first-ever live release, compiled and mixed by Chris Stamey, that includes fan favorites such as “Black and White,” “Amplifier” and “Love Is for Lovers.” On “firework” splatter vinyl.
Tommy Keene, ‘Songs From The Film – The 1984 Reflection Sessions’
(1000 copies, black vinyl, RSD Limited Run/Regional Focus)
Everybody loves the story of a good “lost” album, right? Especially when the lost artifact in question was co-produced by T Bone Burnett and Don Dixon, before yet somehow cooler (or hotter?) record company heads prevailed and the whole thing was scrapped. Coming off of an EP that had had some press and college radio success in the mid-’80s, power pop hero Keene recorded what was to be his first full-length LP with Burnett and Dixon at the helm for an indie label. But when Geffen signed him away, they nixed this completed project and sent him back to the drawing board with producer Geoff Emerick instead. Now the original mix and sequence are finally restored, and aficionados of Keene and the era can finally decide who among the shifting producers wore it better.
Muse, ‘Muscle Museum’ and ‘Muse’
(2500 copies each; electric teal and neon red vinyl, respectively; RSD Exclusive)
Muse is putting out two 12-inch EPs from early in the band’s career that had never been out on vinyl before. “Muscle Museum,” from 1999, has four songs that later appeared on “Showbiz,” in earlier, different versions, plus a B-side. It’s on “electric teal” vinyl. “Muse,” from 1998, is on neon-red vinyl and also includes songs that ended up in different form on “Showbiz,” plus a B-side.
Elton John, ‘Positiva Presents: Elton John – The Remixes’
(7500 copies, glow in the dark vinyl, RSD First)
Sir Elton often puts out deluxe editions of his classic albums for Record Store Day, but he took a break from that this time to curate an eight-track collection of dance mixes of some of his biggest hits. The collection begins with the Blessed Madonna’s spin on the Dua Lipa collab “Cold Heart” and ends with a KDME remix of “Rocket Man,” with stops along the way like a Shep Pettibone-mixed “I Don’t Wanna Go On With You Like That.” The vinyl is glow-in-the-dark, perhaps all the illumination you’ll need for your private EJ rave.
Paramore, ‘All We Know is Falling (Deluxe)’
(7000 copies, black vinyl, RSD Exclusive)
Putting the more in Paramore, this deluxe edition of the band’s debut album has that release joined by as a bonus LP featuring the first-ever vinyl release of the rare “The Summer Tic EP,” originally released in 2006.
The Blasters, ‘Rare Blasts: Studio Outtakes And Movie Music 1979-1985’
(1200 copies, cobalt blue vinyl, RSD Exclusive)
A year ago, a Blasters boxed set was issued for TSD, in such limited quanties, it pretty much sold out everywhere in a day. Thankfully, the label has subsequently been individually reissuing each one of the Blasters’ original records, which made up the bulk of that set. Now, perhaps the biggest prize is the separate release of the rarities disc that rounded out the box, which fans will want to pick up even if they were content to hold onto their original 1980s copies of the other LPs. Chris Morris, the band’s all-but-official scrivener and scholar, again contributes liner notes that do justice to the band’s considerable and lasting legacy. It was a blast while it lasted.
All 355 RSD 2026 titles, alphabetically:
a-ha – Analogue 20th Anniversary Deluxe Edition 2LP Bryan Adams – Tough Town LP Against Me! – New Wave B-Sides 12-inch Jhene Aiko – Trip 2LP picture disc Air – Moon Safari: The Athens Concert LP Zeni Geva and Steve Albini – Superunit: Maximum Implosion 2LP Alcatrazz – No Parole From Rock ‘N’ Roll 2LP All Time Low – Fool’s Gold 7-inch Amble – Hand Me Downs 12-inch Jon Anderson and the Band Geeks – TRUE 2LP Angel of Man – RONIN: CYBERPUNK 2077 LP April March – Villerville LP Ólafur Arnalds and Loreen – SAGES 12-inch Art of Noise – The Seduction of Claude Debussy 2LP Roy Ayers – Daddy Bug LP BABYMETAL – Live at the O2 Arena: Highlights 12-inch Bad Brains – Live LP Chet Baker – Live in Japan 1987 Fukui Vol. 1 LP Chet Baker – Live in Japan 1987 Fukui, Vol. 2 LP Bat For Lashes – A Fleet of Bats: Early Demos LP Tony Bennett – MTV Unplugged 2LP Big Sean – Detroit 2LP Black Sabbath Featuring Tony Iommi – Seventh Star LP The Blasters – Rare Blasts: Studio Outtakes and Movie Music 1979-1985 LP Johnny Blue Skies and the Dark Clouds – Castaways 7-inch picture disc Bluey – Up Here zoetrope picture disc LP Blur – Live at the Budokan 2LP David Bowie – Hallo Spaceboy LP David Bowie – Excerpts From Outside LP Bob Brady and the Con Chords – Love-In: The Chariot Records Recordings LP Bring Me the Horizon – Lo-files 2LP Danny Brown – Grown Up 7-inch Bruford – Feels Good to Me LP The Bucketheads – All in the Mind: The Expanded Edition 2LP Jeff Buckley – Live À L’Olympia 2LP and CD Leslie Butler – Ja-Gan LP Kaitlin Butts – Yeehaw Sessions LP Caamp – Caamp 10th Anniversary Edition 2LP Camper Van Beethoven – Tusk 2LP Cam’ron – Killa Season 2LP Captain Beefheart and the Magic Band – Lick My Decals Off, Baby Deluxe Edition 2LP Brandi Carlile – Live at Easy Street Records Vol. II LP The Cars – Heartbeat City Live 2LP James Carter, Cyrus Chestnut, Ali Jackson and Reginald Veal – Gold Soundz: A Jazz Tribute to Pavement 2LP Neko Case – Cool Boys 7-inch Mama Cass – Dream a Little Dream Expanded Edition LP Ray Charles – Ray Charles Live 2LP Charli XCX – party 4 u 7-inch Don Cherry – Blue Lake 2LP Tyler Childers – Live From Dinosaur World 7-inch Collective Soul – Touch and Go LP John Coltrane – The Tiberi Tapes: A Preview of the Mythic Recordings LP John Coltrane Quartet – France 1965: The Complete Concerts 4LP Alice Cooper – The Revenge of Alice Cooper 2LP picture disc Stewart Copeland – The Rhythmatist LP Cream – Wheels of Fire: Live at the Fillmore Auditorium and Winterland Ballroom 3LP Marshall Crenshaw – The Bootleg Sounds of Marshall Crenshaw: 1984-87 LP King Crimson – Live: Penn State University 29 June 1974 2LP Crosby, Stills and Nash – The Solo Albums 4LP The Cult – Weapon of Choice LP The Cure – Greatest Hits 2LP The Cure – Acoustic Hits 2LP Lucy Dacus – New Song 7-inch Dada – El Subliminoso 2LP The Darkness – One Way Ticket to Birmingham: Live at the NEC 2LP Skeeter Davis – The End of the World: The Navy Hoedown Sessions LP Miles Davis – The New Sounds 10-inch The dB’s – Cycles Per Second: US Tour 2024 LP Dead or Alive – The Youthquake Tour 2LP Deafheaven – KEXP Sessions 12-inch Olivia Dean – BBC Radio 1 Live Lounge 7-inch Def Leppard – Slang 2LP Iris DeMent – The Way I Should 30th Anniversary LP Dr. Demento – Get Demented 12-inch Alabaster DePlume – Dear Children of Our Children, I Knew / Cremisan 12-inch Dijon – How Do You Feel About Getting Married? 12-inch Markolino Dimond – Brujeria LP Dinosaur Jr – Live in Hollywood 1991: The Green Mind Tour LP Dr. Feelgood – Oil City Confidential Soundtrack 2LP Doctor Who – The Rescue LP Dog’s Eye View – Happy Nowhere 30th Anniversary Deluxe Edition 2LP The Doors – Strange Days 1967: A Work in Progress Part 2 LP doPE (John Densmore and Chuck D) – No Country for Old Men LP The Dream Syndicate – Sketches for Medicine Show LP Dropkick Murphys and The Outlets – Knock Me Down 7-inch Drum Corpse – Drum Corpse Volume 1: Resistance Drums LP Hilary Duff – (Mine) LP Ian Dury and the Blockheads – Live in London 1980 2LP Electronic – 1996 Remixes 1999 12-inch Sophie Ellis-Bextor – Read My Lips 25th Anniversary Edition 2LP Elzhi – Lead Poison 10th Anniversary 2LP Empire of the Sun – Walking on a Dream Collectors Edition 2LP En Vogue – EV3 2LP English Teacher – Nearly Daffodils / Nearly Daffodils (Matt Maltese Rework) 7-inch Ethel Cain – Inbred 12-inch Euphoria – A Gift From Euphoria LP Bill Evans – At the BBC: The Complete 1965 London Sets 2LP Fall Out Boy – So Much For (2our) Dust: Live at Madison Square Garden 3LP Fear Factory – Digimortal 2LP Flat Duo Jets – Boogie On Your Head! LP Flying Lotus – 1983 LP For Squirrels – Baypath Road LP Foreigner – Foreigner 4 Live Tour 1981-82 2LP Jackson C. Frank – Jackson C. Frank 2LP Frankie Goes to Hollywood – Radio One Sessions 1982-1983 LP FREEMAN – FREEMAN LP John Frusciante – To Only Record Water for Ten Days 2LP Gabby’s Dollhouse – A-Meow-Zing Music! LP Peter Gabriel – Sledgehammer 12-inch Jerry Garcia – Reflections 50th Anniversary 3LP Ghost Funk Orchestra – Live in Europe LP Ghost-Note – Swagism 2LP The Gits – Etcetera LP Goatsnake – Dog Days LP Goblin – The Singles Collection 1975-1979 LP Selena Gomez – Droplets 12-inch Gong – Flying Teapot LP Dallas Good and Richard Reed Parry – Were “The Watchtowers” LP Good Kid – Can We Hang Out Sometime? LP Gotan Project – Best Of 2LP Ariana Grande/Cynthia Erivo – Wicked: One Wonderful Night (Live) The Soundtrack 2LP Grateful Dead – Boston Music Hall, Boston, MA 6/11/76 5LP Grateful Dead – On a Back Porch Vol. 3 LP Violet Grohl – What’s Heaven Without You / Swallowtail 7-inch Vince Guaraldi – It’s Arbor Day, Charlie Brown / Charlie Brown’s All Stars! (Original Soundtrack Recordings) 2LP shaped vinyl HAIM – Relationships 12-inch John Wesley Harding – Here Comes the Groom Deluxe 2LP Françoise Hardy – Françoise Hardy in English LP + 7-inch Roy Hargrove – Bern LP George Harrison – Dark Horse zoetrope picture disc LP George Harrison – Extra Texture zoetrope picture disc LP Wendell Harrison and Tribe – A Tribute to Pharoah Sanders LP Hello Kitty – Hello Kitty Handmade by Robots Collectible Vinyl Figure hemlocke springs – going…going…GONE! 12-inch Joe Henderson – Consonance: Live at the Jazz Showcase 3LP Niall Horan – Flicker Featuring the RTE Concert Orchestra (Live) LP Jade – Jade to the Max LP Ahmad Jamal – At the Jazz Showcase: Live in Chicago 2LP The Jayhawks – 2 Meter Sessions LP Waylon Jennings and the Waylors – The Balladeer Meets the Dukes of Hazzard LP Carly Rae Jepsen – Disco Darling 7-inch The Jesus and Mary Chain – Some Candy Talking EP 12-inch Joan Jett and the Blackhearts – Live at the Ritz NYC 1981 LP Elton John – Positiva Presents Elton John: The Remixes LP Johnboy – Pistol Swing and Claim Dedications Discography 2LP Jack Johnson and Hermanos Gutiérrez – Hold On to the Light 7-inch George Jones – Cold Hard Truth LP Judas Priest – Live in Los Angeles ’90 LP Junkie XL – Saturday Teenage Kick (Remastered, Expanded) 2LP Jurassic 5 – Quality Control 25th Anniversary Edition 2LP Meiko Kaji – Urami Bushi / The Flower of Carnage 12-inch KATSEYE – Touch / Gabriela Tour Arrangements and Acapella Versions 12-inch Kaytranada – AIN’T NO DAMN WAY LP Tommy Keene – Songs From the Film The 1984 Reflection Sessions LP Chaka Khan – Naughty LP Khruangbin – White Gloves ii / M. Blanc 7-inch Freddie King – Feelin’ Alright: The Complete 1975 Nancy Pulsations Concert 3LP King Gizzard and the Lizard Wizard – Big Fig Wasp 12-inch shaped vinyl KISS – A Special KISS Tour Album 12-inch Mark Knopfler and Emmylou Harris – All the Roadrunning 2LP Bruce Kulick From KISS – Transformer LP and CD Mark Lanegan – Bubblegum (Original Draft) 2LP The Last Dinner Party – The Scythe (Live From the Pyre) 7-inch Yusef Lateef – Alight Upon the Lake: Live at the Jazz Showcase 3LP Laufey – A Matter of Time: Live at Madison Square Garden 2LP Adrianne Lenker – Live at Revolution Hall 3LP John Lennon – Love Meditation Mixes 3LP Les Nubians – Makeda Remix 12-inch James Brandon Lewis – These Are Soulful Days LP Lil Peep – crybaby 10 Year Anniversary RSD Edition LP Abbey Lincoln – That’s Him LP Little Feat – Little Feat Deluxe Edition 2LP Living Legends – The Gathering LP The Locustz – Buzzkill LP London Suede – Coming Up at the BBC LP Look Outside Your Window – Look Outside Your Window LP Demi Lovato – Frequency 7-inch Lunachicks – We Can Be Worster LP Madonna – The Confessions Tour Live From London 2LP Ziggy Marley – Brightside LP and CD Laura Marling Live at Albert Hall, Manchester 2LP Marc Maron – Panicked 2LP Bruno Mars – Collaborations LP Matchbook Romance – Visions 7-inch Mayday Parade – Tales Told by Dead Friends 10-inch MC 900 Ft. Jesus – Welcome to My Dream 35th Anniversary Expanded Edition 2LP Freddie McGregor – Showcase LP John McLaughlin – Music From Abandoned Heights LP Tate McRae – Hung Up on You 7-inch Megadeth – Hidden Treasures LP Melanie B – Hot LP picture disc Meshuggah – Destroy Erase Improve: Remastered Anniversary Edition 2LP Meshuggah – Catch Thirtythree: Remastered Anniversary Edition 2LP The Meteors – From Zorch With Love: The Very Best of the Meteors 1981-1997 LP Misfits – Famous Monsters LP Joni Mitchell – For the Roses LP The Modern Lovers – The Modern Lovers LP picture disc Momma – Welcome to My Blue Sky (The Heart Charm) 12-inch The Mooney Suzuki – People Get Ready 25th Anniversary 2LP Gaby Moreno – Live From KCRW Morning Becomes Eclectic LP Mötley Crüe – Live Wire EP 45th Anniversary 12-inch Motorhead – On Parole Steve Wilson Remix LP Motorhead – The Lost Tapes Vol. 7: Lemmy’s 50th Birthday Live in West Hollywood, 1995 2LP Bob Mould – Body of Song 20th Anniversary Expanded Edition 2LP The Muffs – Live at Fort Apache LP Muse – Muscle Museum 12-inch Muse – Muse 12-inch Mutemath – Mutemath 2LP My Life With the Thrill Kill Kult – Sinister Whisperz: The Wax Trax! Remixes 2LP R. Carlos Nakai – Canyon Trilogy 2LP Deb Never – Hellooo / Radio Alice 7-inch New York Dolls – One Day It Will Please Us to Remember Even This 2LP Ngozi Family – Gate Crash ’78 LP Klaus Nomi – Remixes Bundle 2LP Orchestral Manoeuvres in the Dark – Archive Vol. 1 (1981-1990) 2LP Ozzy Osbourne – Ozzy Osbourne Handmade by Robots Collectible Vinyl Figure Anderson.Paak – Malibu 10 Year Anniversary 7″ Box Set 7-inch box set Panda Bear and Sonic Boom – Graveyard / Lucky Charm 7-inch Paper Route Illuminati – Paper Route Illuminati 2LP Paramore – All We Know is Falling Deluxe 2LP Charlie Patton – Primeval Blues, Rags and Gospel Songs LP Pavement – Perfect Sound Forever 10-inch Peaches – No Lube So Rude LP picture disc Pepper – Give’n It LP Gigi Perez – Live From VEVO DSCVR 7-inch Mike Peters of The Alarm – Feel Free LP Tom Petty and the Heartbreakers – July 16, 1978 Paradise Theater, Boston, MA LP Phoenix – United LP Phoenix – Alphabetical LP Phonte and Eric Roberson – Tigallerro LP Pink Floyd – Live From the Los Angeles Sports Arena, April 26th, 1975 4LP and 2CD Pink Pantheress – Girl Like Me 7-inch Pixies – Live in Newport 2LP Robert Plant – Saving Grace: All That Glitters… with Suzi Dian 12-inch Polo G – Hall of Fame LP Porcupine Tree – We Lost the Skyline LP The Power Station – Raw Power: Live at the Spectrum, Philadelphia 3LP Primal Scream – 1987 EPs LP Prince Buster – The Blue Beat Label Presents Prince Buster on Tour LP John Prine – Found Dogs LP John Prine – BBC Sessions LP Professor Longhair – Mardi Gras in Baton Rouge 2LP Puscifer – Normal Isn’t (Live) 2LP The Radha Krishna Temple London – The Radha Krishna Temple London LP Corinne Bailey Rae – Live in New York LP Ritchie Blackmore’s Rainbow – Live From Koln 1976 3LP Ma Rainey – Ma Rainey’s Black Bottom LP Ramones – Live in San Francisco 2LP The Rolling Stones – Big Hits (High Tide and Green Grass) Japanese Edition LP The Rolling Stones – The Rolling Stones RSD3 Mini-Turntable 3-inch turntable package The Rolling Stones – Get Off of My Cloud 3-inch The Rolling Stones – Honky Tonk Women 3-inch The Rolling Stones – Play With Fire 3-inch The Rolling Stones – Heart of Stone 3-inch The Rolling Stones – Mother’s Little Helper 3-inch The Rolling Stones – Have You Seen Your Mother, Baby, Standing in the Shadow? 3-inch Romeo Void – Live ’81-’85 2LP The Mighty Rootsmen – Strike Back! (Volume 2) LP Ruel – What It Sounds Like 12-inch RUNT w/ Todd Rundgren – The Necessary Cosmic Frenzy LP RZA and the Juice Crew – Bobby Digital Presents: The Juice Crew LP RZA and Various Artists – The Man With the Iron Fists Original Motion Picture Soundtrack 2LP St Germain – St Germain 10th Anniversary African Project Remixes 2LP Ryuichi Sakamoto + Danceries – The End of Asia LP Adam Sandler – They’re All Gonna Laugh At You! LP Michael Schenker Group – Best of Live MSG 1980-1984 LP Gil Scott-Heron – Reflections LP and CD Sex Pistols – Jubilee 25th Anniversary Edition LP Labi Siffre – Crying Laughing Loving Lying Expanded Edition 2LP The Sisters of Mercy – First and Last and Always: The Japanese Edition LP Sleep Token – Caramel 12-inch Slint – untitled (albini rough mixes) 12-inch Snarky Puppy – Live at GroundUP Music Festival LP Son Volt – Sound Signal Serenades LP Sonic Youth – Diamond Seas 12-inch Spacey Jane – Live at the Hordern Pavilion 2025 2LP Bruce Springsteen – Live From Asbury Park 2024 5LP Billy Squier – Tell the Truth Deluxe 2LP Squirrel Nut Zippers – Roasted Right: Expanded Edition 12-inch SRC – Milestones LP Stalk-Forest Group – St. Cecilia: The Elektra Recordings 2LP Starcrawler – Starcrawler Sings Elvis Presley 7-inch Steely Dan – Alive in America 2LP Rod Stewart – Alternate Atlantic Crossing LP Stone Temple Pilots – Live at Rolling Rock 2001 2LP The Stranglers – Rarities LP Stray Cats – Rumble in Brixton (Live) 2LP Billy Strings – tiny desk 12-inch Joe Strummer and the Mescaleros – Global A Go-Go 2LP Sugar – File Under Easy Listening: The Singles Collection 3 x 12-inch Swamp Dogg – Swamp Dogg Gets His Pool Painted LP Taylor Swift – Elizabeth Taylor 7-inch The Sword – Three Songs 12-inch Masayoshi Takanaka – All of Me 2LP Masayoshi Takanaka – On Guitar LP Talking Heads – The CBS/Columbia Demos 2LP Cecil Taylor Unit – Fragments: The Complete 1969 Salle Pleyel Concerts 3LP The Tears – Here Come the Tears LP Teenage Fanclub and Jad Fair – Words of Wisdom and Hope LP + 7-inch Thievery Corporation – Culture of Fear 2LP Thin Lizzy – Live in Cleveland 1976 2LP Third Eye Blind – Rarities and First Drafts LP 13th Floor Elevators – We Are Not Live LP Charles Tolliver All Stars – Right Now…And Then LP T. Rex – Songs From “Marc” LP TV Girl – The Night in Question: French Exit Outtakes LP McCoy Tyner – The Seeker 2LP U-Roy – Feel Jah Spirit: U-Roy Meets the Aggrovators LP Ultravox – The Re-Mixes LP Van Halen – Live in New Haven 1986 2LP Various Artists – Cuban Classics Boxset Curated By DJ Koco aka Shimokita 5 x 7-inch box set Various Artists – Jazz Dispensary: Magia Brasileira LP Various Artists – Just Tell Me That You Want Me: A Tribute to Fleetwood Mac 2LP Various Artists – KPop Demon Hunters: Soundtrack From the Netflix Film HUNTR/X Edition LP Various Artists – KPop Demon Hunters: Soundtrack From the Netflix Film Saja Boys Edition LP Various Artists – Metal Machine Music: Power to Consume Vol. 2 2LP Various Artists – My Soul is Lost: Unknown and Forgotten Rural American Musicians LP Various Artists – Operation Irie 2LP Various Artists – Panama Latin Treasures LP Various Artists – Rock and Roll Doctor: Lowell George Tribute Album 2LP Various Artists – Salad Days: Music From the Documentary Film LP Various Artists – Soul Jazz Records Presents POWER POP! American Power Pop for the Now Generation 1977-81 LP Various Artists – Soul Jazz Records Presents Studio One Sound 2LP Various Artists – Stax: Killer B’s LP Various Artists – The Westbound Sound: Single Minded (Westbound Records Curated by Record Store Day Vol. 3) LP Various Artists – You’ll Never Eat Fast Food Again 2LP Various Artists from Curaga Records and Chill Ghost Records – Video Game LoFi: Sleepy Pokémon Beats LP Various Artists from Monstercat and Firaga Records – UNDERTALE 10-Year Anniversary Remixes LP The Verlaines – Ready to Fly LP Violent Femmes – The Blind Leading the Naked LP Mal Waldron – Stardust and Starlight: Live at the Jazz Showcase 2LP The Walker Brothers – Nite Flights LP Jerry Jeff Walker – Navajo Rug 35th Anniversary LP Ween – Europe “90” 3LP Weezer – 1192 LP Scott Weiland – Live LP Paul Weller – When Your Garden’s Overgrown / Boy About Town (Weller at the BBC Vol. 2) 7-inch Ike White – Changin’ Times LP The Who – A Quick One 2LP Buster Williams – Pinnacle LP Brian Wilson – On Tour LP Brian Wilson – Imagination LP Wire – Read and Burn 03 LP Wisp – If Not Winter: The Demos/Live Version 12-inch Wiz Khalifa – Khalifa 10th Anniversary LP Wolf Alice – Spotify Live Room 7-inch Cory Wong – Cory Wong and the Green Screen Band LP Donovan Woods – Not a Greatest Hits Vol. II LP Xmal Deutschland – Peel Sessions 2LP XTC – Live Boots: Live at Emerald City 1981 2LP Xzibit – Restless 2LP Yes – Tales From Topographic Tours 3LP Christopher Young – Sinister Original Motion Picture Soundtrack LP Neil Young and the Chrome Hearts – The Live Album 2LP ZEROBASEONE – Never Say Never LP
Sabrina Carpenter leaned into a “Thelma & Louise” theme with her weekend-two Coachella appearance Friday by featuring Geena Davis reading the mid-show monologue as an older “Aunt Sabrina,” succeeding last weekend’s guest Susan Sarandon.
The monologue was half the length of Sarandon’s uncomfortably overlong version last weekend, lending credence to rumors that Sarandon had been asked to stretch and improvise due to a technical delay.
Her appearance was doubly a surprise as it came amid hurricane-force rumors that Madonna will be joining Carpenter during the show, which led many to wonder if she would perform the monologue instead of Sarandon, only to find that she was being saved for an actual musical appearance later in the show.
Sitting in one of the 1950s cars that are a theme of Carpenter’s set, amid a makeshift drive-in theater lot in the middle of the field, Davis read through a monologue that preceded largely along the lines of last weekend’s script. However, the young drive-in carhop, played by her former “Girl Meets World” TV costar Corey Fogelmanis, arrived after three and a half minutes instead of seven to help her settle up her tab.
Even though the monologue hit many of the same beats as last week’s, it was paraphrased throughout. Sarandon opened with: “What a moron I was. Running around like nobody’s going to judge you, just bippity boppity boo. When of course, everybody’s judging you.” Davis’ opening: “What a moron. I was running around like that carefree, all hippity, skippity…”
The many trims that cut the speech in half included losing somewhat audience-confusing references to a fictional sister, Laurie, who Sarandon-as-Sabrina said “was always really uncomfortable whenever I was the center of attention. Sometimes she would just ignore what I was doing or other times she would shit on me. And probably she’s putting down my career right now…” Also dropped was the whole wistful/inspirational final part of the monologue, in which Sarandon had spoken of “that little voice (where) you say, fuck it, I can do this. I can do whatever I put my mind to… Why do people stop saying that to themselves when they become 12 years old?”
Later in the set, Will Ferrell was succeeded in his comedic role as an electrician by Terry Crews, playing the same part, but with different dialogue, and without the failed attempt to light a cigarette.
Of course, Madonna ultimately provided the mother of all cameos with a medley/duet of her hits… and extended astrology talk that threatened to erase the memory of any filibustering that might have gone on during Sarandon’s speech the previous week.
