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    save the queen

    Back away from Beyoncé: Why the 'thievery' accusation against Houston's queen is totally unfair

    Craig Lindsey
    Jul 29, 2022 | 6:12 pm
    The Queen, on horseback.
    The Queen, on horseback.
    Beyoncé Instagram

    It seems Kelis hates Beyoncé so much right now.

    The R&B/pop singer, best known for the early-aughts hits “Caught Out There” and “Milkshake,” has beef with the one-and-only Queen Bey. On Thursday, July 28, she went on social media to voice her displeasure with not being notified that her song “Milkshake” (from her 2003 album Tasty) was sampled on “Energy,” a song off Beyoncé's latest and wildly anticipated new album Renaissance.

    Queen Bey's album dropped on Friday, July 29 — complete with a tsunami of fan challenges on an TikTok and a custom and official Twitter emoji.

    Kelis was notified of the usage on a fan's Instagram page, eventually commenting on the “level of disrespect and utter ignorance of all 3 parties involved” — referring to Beyoncé and the song's writers/producers, Pharrell Williams and Chad Hugo (aka The Neptunes).

    She later dropped a couple of Instagram videos where she expounded even further. “It’s not a collaboration,” she said. “It’s called thievery because the definition of collaboration means we are working together. There’s no working together if you are not checking in to see if everything’s cool.”

    Here’s what’s important: While it is debatable whether or not Beyoncé should've given Kelis a heads-up about the sample, Sasha Fierce isn’t legally required to do it. Hugo and Williams are the only credited songwriters on “Milkshake,” which makes them the only people who should be notified and credited on “Energy.”

    Seemingly, this has more to do with Kelis's beef with Williams and Hugo than with her issue withd Beyoncé. A couple of years ago, Kelis did an interview with The Guardian where she stated how much the superstar beatmakers, who produced all of her first two albums and some songs on Tasty, and their management lied to her during those days.

    “I was told we were going to split the whole thing 33/33/33, which we didn’t do,” she said, also mentioning that she made no money off her first two albums. “Their argument is: ‘Well, you signed it.’ I’m like: ‘Yeah, I signed what I was told, and I was too young and too stupid to double-check it.’”

    Kelis isn't the only Black singer to be surprised that one of her hits has been recently sampled by Beyoncé. Robin S. found out from her son that her 1990 dance hit “Show Me Love” was sampled on “Break My Soul.”

    However, unlike Kelis, Robin (who didn't write or produce the song) wasn't offended by the lack of notification. In fact, she was pleased that Beyoncé, well, showed her love. “Thank you so much for giving me my flowers while I’m still alive,” she said in an interview.

    Sure, Kelis has every right to be upset with collaborators who screwed her over in the past. But, she shouldn't be mad at another artist — namely The Queen — for sampling one of her songs and properly crediting the writers and producers, so all of this won't legally blow up in her face.

    Besides, Kelis really doesn't want any smoke with the BeyHive. (Does someone need to remind her of Keri Hilson?)

    Beyoncé is being accused of not crediting an artist on her new album.

    Beyonc\u00e9 Renaissance album cover
      
    Beyoncé/Instagram
    Beyoncé is being accused of not crediting an artist on her new album.
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    Movie Review

    Heartfelt movie The Life of Chuck adapts optimistic Stephen King story

    Alex Bentley
    Jun 13, 2025 | 5:30 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
    Tom Hiddleston in The Life of Chuck.

    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.



    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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