Austin Butler attends the 2019 Vanity Fair Oscar Party hosted by Radhika Jones at Wallis Annenberg Center for the Performing Arts on Feb. 24, 2019 in Beverly Hills, Calif.
Gregg DeGuire/FilmMagicFor all the suspicious minds wondering how Austin Butler will fare as Elvis Presley in the new biopic, by the looks of a new teaser, he’s nailed the performance.
Filmmaker Baz Luhrmann (The Great Gatsby), who’s helming the biopic, gave fans a first look at Butler’s portrayal of The King of Rock & Roll on what he called “Elvis Monday” (Nov. 15). “Made a little something to let you good people know we are taking care of business on June 24, 2022,” he captioned the 21-second snippet on Instagram while highlighting the King’s “taking care of business” mantra.
In the clip, the 30-year-old actor is seen, only from behind, with his perfectly slicked-back black hair walking backstage in his classic black leather jacket in one shot and white suit in another while his 1969 Billboard Hot 100 No. 1 hit “Suspicious Minds” plays in the background.
Some musicians are ready for the film based on Luhrmann’s comments section, where Yola wrote “YEEESSSSSS!!!” followed by fire emojis and Ben Wells chimed in with, “Cannot. Wait!!”
The yet-untitled Elvis biopic is set to be released in theaters on June 24, 2022. The release date has been pushed back many times throughout the last year due to COVID, including after Tom Hanks — who will play Elvis’ manager Colonel Tom Parker in the film — contracted the virus in Australia, where he was filming the biopic, along with his wife Rita Wilson.
Watch Luhrmann’s biopic snippet below.
NEWS
No matter what you thought of the Kendrick Lamar and Drake battle, there was only one undisputed winner by the end of it all: the reaction community in the worlds of streaming and YouTube. Your favorite content creators broke down the bars, reacted to all the most shocking moments, and helped this showdown become one of hip-hop's most culturally significant and resonant moments in a long time... For better or worse. See, the battle's technically not over yet, but only because the 6ix God's idea of victory is clearly quite different. In his federal defamation lawsuit against Universal Music Group – his label – for releasing K.Dot's "Not Like Us," he named various content creators who allegedly helped boost the track's widespread popularity and, as a result, its supposedly defamatory nature.
Furthermore, the specific allegation that Drake brings up in this highly controversial lawsuit is that UMG "whitelisted" copyright claims for YouTubers, streamers, etc. concerning "Not Like Us." This means that they would be able to monetize their content without facing a copyright claim from UMG over "Not Like Us," and this isn't really an allegation because various creators have backed this up. But a few important (alleged) caveats that people are talking about online need to be clear. First, "whitelisting" supposedly happens on behalf of a record label behind a song like the West Coast banger, and UMG is instead the distributor of that track. Secondly, as rapper and online personality ScruFaceJean brings up as seen in the post below, tracks like "Push Ups" were also "whitelisted" by its team.
Along with Jean, many other of your favorite content creators spoke out against this Drake lawsuit. Zias! and B.Lou, for example, spoke with their lawyer about the possibility of countersuing for emotional distress, as they found the Toronto superstar's accusations and his implication of them very disturbing and misguided. NoLifeShaq also dragged The Boy through the mud, calling him "soft" and positing that, whether "whitelisting" happened or not, they would react to "Not Like Us" accordingly as they did to his own tracks.
In addition, it's important to bring up that many others fans have pointed to how Drake excitedly used streamers to generate hype and reaction clips for his own diss tracks against Kendrick Lamar. The most direct example is with Kai Cenat, whom he texted to "stay on stream" before dropping "Family Matters." Ironically, the Twitch giant appears in this clowned-upon defamation lawsuit as an example of what the OVO mogul's accusations and implications are. And one more thing: there is no direct link between monetization and algorithmic boosting on sites like YouTube. With all this in mind, content creators seem to feel almost insulted at the idea that they only reacted to the two biggest rappers in the world beefing with each other because one of them would allow them to make money. If Drizzy knew the first thing about the reaction community, maybe he wouldn't have included this...
