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Kid Cudi Reveals How ‘Entergalactic,’ Planned as Live-Action Series, Became an Animated Special

By Brandon Yu

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If Kid Cudi is indeed retiring his rapper persona , as strongly indicated in recent interviews, Monday night might have served as an early farewell party of sorts. 

At a special screening at the Netflix Tudum Theater in Hollywood, the star was all smiles as he answered questions and celebrated the release of “ Entergalactic ,” the new animated Netflix special that serves as a kind of filmic companion piece to Cudi’s new album of the same name. 

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“We were texting this week, and I was like, I never knew that Twitter could be a platform of love,” Moules joked. 

Undergirded by a number of tracks of Cudi’s trademark spacy melodic rap from the accompanying album, Netflix’s “Entergalactic” follows a character voiced by Cudi, Jabari, an artist struggling to navigate the chaos of his love life in New York City. The film, Cudi explained, sprouted out of what was initially an anthology series that would, in its debut season, center around the theme of love and include a standalone animated episode. Cudi began developing the idea with Kenya Barris, who encouraged him instead to change course, eventually leading to “Entergalactic,” which Netflix has billed as a television special. 

Barris “told me this would be ill if we ran it all-animated, because that’s something that Netflix was looking for,” Cudi said. “So I decided to take the one animated episode that I was gonna have in my anthology and kinda just extend the story.” 

“The album itself came together rather quickly,” Cudi said, “just because in my mind I already knew the beats of what I wanted to cover, just kind of piecing the story in my mind early on.” 

The unique album and film concept, masterminded and headlined by Cudi, was also what helped lure its star-studded cast, from friends like Chalamet and Ty Dolla $ign to fans from afar like Williams and Harrier. “I felt like Tony Stark, kinda like assembling the Avengers,” Cudi said, laughing.

The project might signal a bookend of sorts to the career of Kid Cudi as we’ve known it. While promoting the film and album, Cudi indicated both in a recent interview with Zane Lowe and on his appearance on Hot Ones that he was leaning towards retiring the persona and less interested in making music. 

“The Kid Cudi stuff, I think I want to put it on the back burner and chill out with that,” Cudi told Lowe. “I think I want to be done with it. I think (I’m) closing the chapter on Kid Cudi. The goal for ‘Entergalactic’ — I was bored of making albums… I went into this wanting to do something epic and different.”

While Cudi established his stardom on his influential output as a musician, most notably with his multi-platinum 2009 debut record, “Man on the Moon: The End of the Day,” the 38-year old has worked as a relatively prolific actor for years. He has appeared in blockbusters (“Need for Speed”) and indies (“James White,” “X”) and served a stint as bandleader on the alt-comedy show “Comedy Bang Bang.” 

“Entergalactic” is one of several projects coming out of Mad Solar, the production company that Cudi founded in 2020, pointing perhaps toward a more concerted focus on film and television, both behind and in front of the camera. 

Not everyone in Cudi’s camp is expecting a wholesale turnabout in his career. “Nothing to me has changed in Scott,” said Karina Manashil — his former agent and a close confidant who is now the president of Mad Solar — backstage when asked about Cudi’s recent comments. “Now everything that we’re seeing, it’s not so much a shift. It’s more he now has everything around him that allows him to do all of the things he was always capable of, and he’s in the headspace to experience all of those things.” 

On Monday, Cudi himself refrained from providing any more details on his potential retirement from music or a change in direction. He instead offered a signature moment of personal vulnerability in relating what he hoped fans would take away from the film. 

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Entergalactic

By Evan Rytlewski

October 5, 2022

Kid Cudi doesn’t plan to rap forever. In recent interviews, the 38-year-old has doubted the likelihood of performing beyond his forties (“Like, my name is Kid Cudi,” he told Esquire ). Although he wouldn’t be the first rapper to tease retirement without following through, Cudi has spent the last few years like an artist plotting an exit strategy, diversifying his portfolio with a spate of acting, writing, and directing projects. He’s finding some success. Earlier this year he gave a charismatic supporting turn in Ti West’s horror hit X , which along with its prequel Pearl was produced by Cudi’s production company Mad Solar.

Cudi’s latest record, Entergalactic , is a product of those same ambitions to conquer film and television, a visual album released in conjunction with an animated Netflix film of the same name. A low-key romantic comedy, the movie casts Cudi as an aspiring cartoonist opposite best friend Timothée Chalamet and love interest Jessica Williams, and the album shares the feature’s low stakes and blissful, lovelorn vibe. It’s ironic that a project born of Cudi’s desire to leave recording behind contains some of his most purely enjoyable music in a decade.

Entergalactic comes on the heels of his most backward-looking album yet, 2020’s Man on the Moon III: The Chosen , the latest sequel to the 2009 debut he’s cast his entire career as a celebration of. Like so many Cudi records before it, Man on the Moon III was listless to the point of misery, beholden to muses he’d already exhausted the first time around. With its depthless depressive musings and cosmic ponderings, it was another empty statement from a rapper who wears the mantle of a great artist without making great art.

One of the most pleasant surprises about Entergalactic , then, beyond its unshowy but absolutely sumptuous production, is that Cudi is finally writing outside himself. By singing from the perspective of his rom-com alter ego, he frees himself to let a little light into his dreary world. On “New Mode,” he telegraphs the new direction: “Finally got my head right, it's a new me.” On “Angel” and “Ignite the Love” he sounds convincingly smitten. One of two R&B-slickened Ty Dolla $ign collaborations, “Can’t Shake Her” has the soft touch of 6LACK ’s most unforced work.

Cudi remains a clumsy lyricist, and only his most devoted rap forum evangelists could mistake his raw prose for profundity. “This life goes on and on, yeah/Living my truth is all I know,” he raps on “Livin’ My Truth,” a song that affirms his gift for saying nothing. But if nothing else, he’s becoming a more economical writer, and when he gets out of the way of his own music, the results can be gorgeous. Beautifully scored with the understated strings of a Luther Vandross ballad, “Maybe So” might be the most elegant composition he’s ever recorded.

If you take all the indulgence and excess out of a Kid Cudi record, is it even a Kid Cudi record? Entergalactic is an unusual addition to Cudi’s discography, a small statement from a rapper who prides himself on big, aimless ones. It doesn’t wallow. It doesn’t rage. It just sort of lingers pleasantly. It’s the easy hang that Cudi usually works so hard to deny himself.

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Nearly 15 Years Later, Kid Cudi Is Dreaming Past The Moon: ‘Everything Is Possible’

With major wins in the music, fashion and acting department, Kid Cudi is enjoying his life as a true polymath.

By Carl Lamarre

Carl Lamarre

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Fans Choose Eminem's 'Houdini' as This Week's Favorite New Music in All-Genre Poll

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“I was enthralled, then disturbed, then so unsettled that I had trouble getting to sleep. But I couldn’t stop watching,” said Scorsese about the gory film in an interview with  Slashfilm . 

With Cudder’s confidence nearing its apex, he looks to dazzle music and film fans with his upcoming Netflix show  Entergalatic , which will accompany his 10th studio album next Friday (Sept. 30). The animated series is based on Cudi’s latest studio effort, and follows a young bachelor named Jabari who’s hoping to strike a balance between his career and love life. 

Billboard  spoke to Cudi about his Entergalactic album, how the project connects with his upcoming Netflix show, sending flowers to Emmy winners Quinton Brunson and Sheryl Lee Ralph and how he’s been able to keep the devil away from his blessings. 

With Entergalactic , you gave the album a visual component. Give me the breakdown of why you thought a show would complement the music. 

I always wanted to do something visual accompanying an album, but so many people have tried that. I just wanted to figure out another approach that hadn’t been done before. With this, the process was really simple. I masterminded this whole thing and said, “Okay, it’s best if I make the music first and then we go in and write the scripts.” 

So I pretty much wrote the story in my head and made the album first. I’m talking about figuring out different beats in the story, and I knew I needed a song that gave you the feeling when [the main character Jabari] saw Meadow for the first time. I needed a song that was the feeling and emotions when they made love for the first time. I needed a song that was the kind that explains and touches on them losing each other. Will they ever get back together?

I was just thinking of all these things as I was writing the album and piecing it all together. From there, I just sat with my writers and they downloaded all of the information and we were able to piece together the scripts from there.

I love that you pretty much gave me six different songs that encapsulate different moods of the show. Is there one that really sticks out to you the most?

The character Jabari seems as if he’s learning to balance out his love life and career. I’m gonna flip it to you — is there anything you wish you could’ve done differently when it came to establishing that balance between work and your personal relationships? I struggle to strike that balance.

I think back in the day I never struggled with that. I was always able to hold a relationship and do my job. No girlfriend I was ever with was complaining about me putting too much time into my work. But I thought it would be interesting to touch on that in the show and make it kinda difficult for Jabari, because that is a lot of people’s story. I was able to work and hold a relationship and do all this, but I realize for a young person this is not easy, especially when you’re trying to find your footing in the world. 

I was watching the trailer and there was a pivotal line that struck a chord with me. It was, “Love is the easiest thing in the world when you do it on accident, but it doesn’t get real until you do it on purpose.” I want you to decipher that line and how it’s so impactful to the show.

I really feel like I’ve never stumbled into a relationship. For me, it’s always been on purpose. It’s always been real. I’ve been lucky to find women that have been locked in with me in the same way that I’ve been. In some ways in between the relationships, there have been flings here and there. I’m like, “Whatever,” and I haven’t taken it too serious, and it’s more so a waste of my time… The relationship could be going well but I’m not getting anything from it. I’m just in it.

I’m gonna take it back to How To Make It In America . I loved your character, Domingo. You played a lot of roles in your life — which one would you say had a lasting impact on Scott, personally?

I think Domingo, How to Make It In America . Domingo was this really amazing guy. He was a hustler, a people person, he was good energy. You never saw him depressed or sad. Every time you saw him, he was in the greatest mood. And that was inspiring to me, because I felt miserable around that time. I was like, “This is the most fun, because I get to play somebody who’s happy.” When I live my life now in my adulthood, a lot of the times it’s like, “What would Domingo Dean do?” He is the natural-born hustler. He makes it f–king happen at all times. And that’s who Domingo was in the show, and that’s who Kid Cudi is. That’s what I became to be. 

I want to give you your flowers, but I know it’s nothing like Martin Scorsese giving you flowers. When you have a legend like him praising you on a film you co-produced, what does that stamp of approval mean knowing this wasn’t necessarily your first calling?

This is a sidebar, but I’m really humbled that Ti kinda kept me in mind all these years to do X . Because in 2016, I met him at SoHo House and he pitched me an idea that was kinda like X and I was a character in this movie. But X ended up being its own thing but he still kept the character that he wanted me to play and put it in X . So he kept me in mind all these years later. I was the first actor they reached out to and was attached. The fact he kept me in mind is really ill. I’m just thankful to be in these movies and to have that opportunity to be in that authentic piece of cinema. It’s even more f–king crazy that someone like Martin Scorsese watches our movies. Like even in the quote, he said he couldn’t sleep! The art we’re making is stimulating and that’s all you want. You want people to feel something unsettled. You want people to cry and want your art to invoke all these different emotions.

The beautiful thing about this is that you can embrace the love and flowers you receive, but also give them back to others who are deserving. You literally did that for Sheryl Lee Ralph for her Emmy win for Abbott Elementary . I remember growing up with Sheryl and her being the mom in Moesha . What does her win mean for the Black community, especially for those trying to have that breakthrough on a mainstream level?

Same thing with Quinta. Now I haven’t known Quinta that long, but I feel like I know her enough — the way we connect, I feel like I know her forever, from back in school or some s–t. I was so excited to be able to say I know Quinta, and I had dinner with this person and we text — like, we look out for each other. She checks in on me and I check in on her. That’s the homie. I’m really proud of her and Sheryl and what they’ve done. That’s my dream. I hope the shows I create end up having that big of an impact. I think she’s a f–king genius and it’s incredible to watch her shine. 

. @quintabrunson all I know is ur show has been trending for days and I need to finally get w the program!! Congrats on everything! ✌🏾💖 — The Chosen One (@KiDCuDi) January 10, 2022

You said you’re the “most hated man in hip-hop ” but also the most blessed. Talk about how you’ve been able to receive your gifts, but also deal with the bull—t throughout your career. 

It’s a thing that requires a certain level of mastery. You have to be at the level of inner peace, and you have to be able to take a step back and look at your blessings. We would have to do a whole other interview about the five other things I’m working on that don’t even have anything to do with acting. I just like to focus on the positive and what’s happening in my life. The quote Denzel [Washington] said to Will [Smith] when he had the Oscars situation. Be careful when you’re high up, that’s when the devil comes for you. 

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Entergalactic

The “Man on the Moon” rapper enters a new dimension. Hear it in Spatial.

30 September 2022 15 Songs, 45 minutes ℗ 2022 Republic Records, a division of UMG Recordings, Inc.

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In a Violent Nature review: an old-fashioned gorefest, updated

“In a Violent Nature is an ambitious twist on a standard slasher movie that doesn't totally work, but leaves you with plenty to admire nonetheless.”

• A hypnotic visual style
• Incredible prosthetic and makeup work throughout
• A few inspired editorial cuts and moments of body horror
• A script that explains too much too often
• An ending that only partly lands
• Cringey dialogue delivered by shallow characters

Writer-director Chris Nash ‘s In a Violent Nature  is both a loving homage to the cheap slasher movies of the 1980s and an inspired attempt to bring something new to their familiar formula. It commits itself to both of those endeavors with equal passion — delivering scenes with such laughably bad dialogue that they would have fit in nicely in any of the worst Friday the 13th movies while sticking to a measured pace and visual style that feel directly opposed to the thrown-together aesthetic of so many of the low-budget horror franchise starters it was inspired by. The result is an overall experience that is simultaneously hypnotic and jarring.

The movie, which premiered in January at the Sundance Film Festival, upends the slasher genre by placing its focus not on all of the people who inevitably die throughout it, but the killer responsible for their deaths. This time around, it’s the chatty, often crass adults and teenagers who are relegated to the background of the frame, while their silent, masked murderer is given priority placement in the foreground as he watches them from nearby. This simple visual decision allows In a Violent Nature to tell a by-the-numbers slasher story in a decidedly unique fashion. However, while the film works far better than it should, it also feels frequently torn between its trashiest and most artful impulses.

Nash, whose few previous credits include a segment of 2014’s ABCs of Death 2 , wisely doesn’t waste any time setting up In a Violent Nature ‘s story. The film opens with a static shot of a necklace hanging from the top end of a pipe. Off-screen, we hear a group of teenage boys exchanging verbal jabs and local legends before one of them, against the urging of his wiser acquaintances, absconds with the necklace at the center of the frame. Moments later, the pipe it was resting on begins to shake and, within a matter of seconds, the ground it had been struck into has collapsed — opening up so that the rotting corpse of Johnny (an imposing Ry Barrett), an undead killer, can crawl out of his temporary grave.

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From there, Nash follows Johnny as he wanders wordlessly through the surrounding woods, coming upon bear traps and an unsuspecting poacher who meets a quick, bloody end at his hands. Over the course of his slow, lumbering journey, Johnny stumbles upon the same group of teenagers from the film’s concise opening, one of whom helpfully tells his friends over a campfire all about Johnny’s disturbing origins. It, of course, isn’t long after said exposition has been dumped that more blood is spilled. Spill blood is, in fact, exactly what In a Violent Nature does, and more than a few times.

The film spends most of its 94-minute runtime following a few paces behind Johnny as he stalks his unsuspecting human prey. In the moments when he does catch up with his victims, though, Nash and cinematographer Pierce Derks break away from the movie’s largely removed aesthetic in order to showcase Johnny’s murders in all of their bone-crunching glory. In perhaps its most open-hearted tribute to the Hollywood slasher movies of old, In a Violent Nature turns its many kill scenes into instances of both stomach-churning horror and undeniable craftsmanship. The film’s prosthetic makeup work is awe-inspiring, and that’s particularly clear in one sequence in which a young girl’s yoga session is brutally interrupted. The moment in question seems destined to be clipped on YouTube and discussed endlessly among horror fans.

In a Violent Nature ‘s debt to movies like Friday the 13th Part 2 isn’t just apparent in its gory onscreen deaths. The film’s depiction of Johnny, as well as its misguided insistence on overexplaining his motivations and backstory, only make the character’s similarities to Jason Vorhees all the more obvious. While it’s also admirable to see Nash try so boldly to combine his love of both cheap slasher movies and arthouse dramas like Gus Van Sant’s Elephant (a noted influence) , his efforts to do so aren’t always as seamless as one would hope. Specifically, the film’s paper-thin characterizations of its shallow teenage and adult characters, coupled with their often atrocious pieces of dialogue, bumps against its more deeply considered visual and stylistic choices.

In certain sections, such as a nighttime showdown between Johnny and a Tommy Jarvis-esque park ranger (played briefly, but memorably by Reece Presley), In a Violent Nature manages to find the right balance between trashy slasher horror and arthouse-inspired cold terror. More often than not, though, the film seems unable to completely commit to one or the other, and that may make it incapable of satisfying enough horror fans to truly leave a lasting mark on the genre. Those who go into it just wanting a violent, thoroughly nasty slasher movie will likely be happy with what they’re given, but there will also be plenty of viewers who leave frustrated by how In a Violent Nature fails to fully deliver on its promises.

The film doesn’t reinvent the slasher genre so much as it presents a new angle to tell the same kind of story we’ve seen a hundred times before. It’s an experiment that, for all of its many strengths, comes up a bit short. Fortunately, there are worse fates to befall a movie like In a Violent Nature , which has enough interesting cinematic ideas in it to, hopefully, provide Nash with whatever goodwill he needs to get another project off the ground. If there’s one thing In a Violent Nature proves, it’s that he’s a filmmaker of real skill and vision. One can only hope that his next creative swing actually cuts right to the bone — rather than getting caught halfway through.

In a Violent Nature is now playing in theaters.

Editors' Recommendations

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Vesper does a lot with a little. Despite being made on an obviously lower budget than most other modern sci-fi movies, the new film from directors Kristina Buozyte and Bruno Samper takes place in a futuristic, post-apocalyptic world that feels more well-realized, vivid, and imaginative than any of Hollywood’s current cinematic universes do. While its premise doesn’t do much to sell Vesper as a unique entry into the dystopian sci-fi genre, either, it doesn’t take long for its fictional alternate reality to emerge as a striking new vision of the future.

The film's opening shot throws viewers headfirst into a swampy, gray world that seems, at first, to be perpetually covered in fog. It's an image that makes Vesper’s connections to other industrialized sci-fi films like Stalker undeniably, palpably clear. However, once Vesper escapes the foggy wasteland of its opening scene, it begins to flesh out its futuristic reality with rich shades of greens and colorful plants that breathe and reach out toward any living thing that comes close to them. While watching the film does, therefore, often feel like you’re being led on a tour through an industrial hellscape, it also feels, at times, like a trip down the rabbit hole and straight into Wonderland.

The alarm has been tripped. The backdoor is wide open. And who or whatever’s impersonating the security-system operator on the other end of the phone line has just croaked three words that no horror movie character would ever want to hear: “Look behind you.” The command puts Rose (Sosie Bacon), the increasingly petrified heroine of Smile, between a rock and a hard place. She has to look, even if every fiber of her being would rather not. And so does the audience. We’re locked into her campfire crucible, forced to follow the hesitant backward tilt of her gaze, and the anticipatory creep of a camera that’s slow to reveal what that disembodied voice has invited her (and us) to discover.

Smile is full of moments like this. It’s a nasty, diabolically calibrated multiplex scream machine — the kind of movie that sends ripples of nervous laughter through packed theaters, the kind that marionettes the whole crowd into a synchronized dance routine of frazzled nerves and spilled popcorn. Turn up your nose, if you must, at the lowly cheap sting of a jump scare. Smile gives that maligned device a workout for the ages. It rattles with aplomb.

Director Kenny Ortega's 1993 film Hocus Pocus wasn't a hit when it was first released, but history has been kind to it, and turned it into a Halloween tradition of sorts for children of a particular generation (and their children, in many cases). And because this is a time when everything old is eventually new again -- particularly if it's gained the sort of post-release popularity Hocus Pocus has enjoyed -- Disney has decided to bring the sorcerous Sanderson sisters back for another adventure in Hocus Pocus 2.

Hocus Pocus 2 conjures up original cast members Bette Midler, Sarah Jessica Parker, and Kathy Najimy as Winifred, Sarah, and Mary Sanderson, respectively, the trio of witches who were accidentally resurrected in the 1993 film and terrorized the town of Salem before being defeated by a group of precocious teenagers and a magical black cat. This time around, the film features Step Up and 27 Dresses director Anne Fletcher behind the camera, and follows another group of Salem teenagers who unwittingly unleash the Sanderson sisters on the town again, 29 years after the events of the original film.

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• June 2, 2024 Setlist

Red Hot Chili Peppers Setlist at Toyota Amphitheatre, Wheatland, CA, USA

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Tour: 2022-24 Global Stadium Tour Tour statistics Add setlist

• Intro Jam Play Video
• Dani California Play Video
• Scar Tissue Play Video
• Aquatic Mouth Dance Play Video
• Universally Speaking Play Video
• Otherside Play Video
• Eddie Play Video
• Don't Forget Me Play Video
• Soul to Squeeze Play Video
• Right on Time ( with The Clash's "London Calling" intro ) Play Video
• Tippa My Tongue Play Video
• Suck My Kiss Play Video
• Tell Me Baby Play Video
• Californication Play Video
• Black Summer Play Video
• By the Way Play Video
• Under the Bridge Play Video
• Give It Away Play Video

Note: "I Could Have Lied" was written on the setlist but "Under the Bridge" was played instead.

Edits and Comments

12 activities (last edit by specialfmv , 3 Jun 2024, 16:37 Etc/UTC )

Songs on Albums

• Californication
• Right on Time
• Scar Tissue
• Give It Away
• Suck My Kiss
• Under the Bridge
• Don't Forget Me
• Universally Speaking
• Tippa My Tongue
• Dani California
• Tell Me Baby
• Aquatic Mouth Dance
• Black Summer
• Soul to Squeeze

Complete Album stats

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Toyota amphitheatre.

• Ken Carson Add time Add time
• Red Hot Chili Peppers This Setlist Start time: 8:50 PM 8:50 PM

Red Hot Chili Peppers Gig Timeline

• May 28 2024 RV Inn Style Resorts Amphitheater Ridgefield, WA, USA Add time Add time
• May 31 2024 The Gorge Amphitheatre George, WA, USA Start time: 8:50 PM 8:50 PM
• Jun 02 2024 Toyota Amphitheatre This Setlist Wheatland, CA, USA Start time: 8:50 PM 8:50 PM
• Jun 05 2024 Utah First Credit Union Amphitheatre West Valley City, UT, USA  –  Find tickets Add time Tickets Add time
• Jun 07 2024 Isleta Amphitheater Albuquerque, NM, USA  –  Find tickets Add time Tickets Add time

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Tour Update

Unlocked: lime cordiale.

• Lime Cordiale
• Jun 1, 2024
• May 31, 2024
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• May 29, 2024
• May 28, 2024
• May 27, 2024
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