Choose A TV Character, And We’ll Guess Why You’re Single
You got: You have a soft spot for the baddies
We get it! That whole “tough on the outside, sensitive, tortured soul on the inside” thing is hot. But, they’re also a lot of work. Maybe you think you can change them for the better — but that’s harder than it looks. Sooner or later, you’ll have to move on.
We know it’s not easy, but open yourself up to love! Sure, being guarded can help protect you, but it also blocks you off from what could be. Proceed with caution, but be more generous with your feelings!
So, there’s a good chance that you’re a little picky. We all have that criteria for our perfect match, but if someone doesn’t meet every item on your list, don’t shrug them off. Who knows, the one you’ve been waiting for could be right in front you!
You might have heard of the term “fridging,” which refers to a trope in comic books, TV, and movies wherein a character is killed to further the emotional arc of another character. It’s also sometimes known as “Women In Refrigerators,” because of an instance in the Green Lantern comics when a woman’s corpse was literally left in a refrigerator for her boyfriend to find. If you want another example: After Gwen Stacy plummets to her death in Spider-Man (both in the comics and the movie), Peter Parker is so heartbroken, it motivates his heroism forever after.
The character who ends up dead is, most often, female; and the one whose story is pushed forward by their grief is, more often than not, male. In Wonder Woman, though, it’s Steve who dies — in his own heroic moment, sure, but he’s dead. Super dead. And his death is designed to deepen Diana’s dedication to her cause. It’s a symbol, and one that has more power because of the trope it’s subverting. Steve’s death really hammers the point home: This is Diana’s story, and any man who plays a role in it — no matter how great he might be — is not going to outlast our girl.
To many children of the ’90s, Larisa Oleynik will always be associated with her starring role on Nickelodeon’s The Secret World of Alex Mack. The series, which centered on a teen girl who gains superpowers in a freak accident and wears a lot of era-appropriate hats, doesn’t veer far from Oleynik’s current aesthetic, most notable when she shows up for an interview in overalls and a red flannel.
“I walk around in cosplay of [Alex Mack],” she told BuzzFeed News while laughing. “I tell people this all the time. … I don’t know which one came first.”
It’s been nearly two decades since Oleynik left The Secret World of Alex Mack behind. Since the series ended, she’s had roles in film and TV, as well as theater, where she got her start as an 8-year-old in a San Francisco production of Les Misérables. And she’s now appearing in her first musical since then, Baghdaddy, a sharp, darkly funny look at the people whose mistakes and misinformation — both willful and otherwise — spurred the Iraq War.
“As someone who hadn’t done the show before and hadn’t done musical theater in a gazillion years, I should have been more prepared than I was,” Oleynik admitted. “I was not prepared at all.”
Oleynik first appeared in Baghdaddy in a 2015 production at the Actors Temple Theatre. But after completing that run and a year and a half off, she’s now fully aware of just how much effort she has to put into the show that’s running at St. Luke’s Theatre.
This is live theater, and a low-budget off-Broadway musical where no one can hide behind elaborate sets. “It’s a big, energetic commitment, and that’s actually what I love about the show,” Oleynik said. “All we have are each other, and we have to be locked in.”
In talking about her work, Oleynik frequently returns to the idea of community: It’s a word she uses often to describe the chosen families she’s found on film and TV sets, and onstage. It’s also a major driving force as she’s transitioned from child stardom to the more nebulous world of adult acting.
But Oleynik is also driven by the desire to take on challenging work and continue to prove her worth as an actor, acknowledging the stigma that follows former child stars, who are often regarded more as props than as professionals. She’s not resentful toward those who know her as Alex Mack — even when people who come to see Baghdaddy have expressed surprise that Oleynik is, in fact, a real actor — but she’s eager to show them what else she can do.
“I don’t take it personally,” she said. “Let me prove myself. … I’m constantly feeling that way, like, put me in. Put me in, Coach. Let me show you what I can do.”
Oleynik wasn’t sure she wanted to be a professional actor when she was doing Les Misérables. She was only 8, after all. But it was during the run when she met fellow child actor Rider Strong, who was playing Gavroche, and decided to follow his lead. She started working with the same agent and acting coach, and accompanying the Strong family on trips to Los Angeles to audition.
“At a certain point, I lost some anonymity, and that was a bummer.”
At first, it was just something to do, but eventually something clicked for Oleynik. “I remember being 10 years old and thinking, I want to be good at this,” she said. “It wasn’t about, I want to be on TV. It was more looking around at the other kids and being like, I’m not good at sports, I’m not really smart. I think I could be good at this, though.”
Once she started putting in the effort, Oleynik began booking work; her first gig was a guest spot on a 1993 episode of Dr. Quinn, Medicine Woman. The following year, she got her big break when she was cast on Alex Mack, after a short audition process she no longer remembers well. But while she was clear about the anxiety that goes into most pilot seasons, she felt an instant ease with this project: In playing Alex, she saw herself. Alex felt like a real 13-year-old trying to make sense of her life, with or without the ability to melt into a puddle or zap things with her fingers.
For those who weren’t raised by Nickelodeon, it’s difficult to convey what a smash The Secret World of Alex Mack was. It had the 8 p.m. lead-in on the Saturday night line-up SNICK, replacing the similarly iconic-to-millennials Clarissa Explains It All in 1994. SNICK was event television at the time, and the show’s success transformed Oleynik from “just an average kid” into a celebrity.
Oleynik maintains that she led as normal a life as possible, attending the same school she’d been going to since kindergarten. But her first time being recognized in public was a wake-up call. “I was like, This is weird. Is this my life now? And then it did become my life for a while,” she said. “At a certain point, I lost some anonymity, and that was a bummer.”
While Oleynik stayed grounded — with help from Nickelodeon, which she said wanted to let its young actors lead normal lives — she did have moments of discomfort with her new public persona. She was going through the rough early teen years that most of us would have rather spent hiding behind closed doors. Oleynik did enjoy some of the perks, she confessed, like Converse shoes sent to the cast. (“Is this what being a celebrity is?” she recalled wondering. “You get Converse?”) More importantly, she was glad to be a part of something that resonated with people.
As the show’s popularity rose, Oleynik continued to strive for normalcy. “We were pretty driven to do what we had been doing,” she said. “When things like that happen, they just kind of happen.”
The Secret World of Alex Mack could have gone on longer; it was Oleynik who decided to step away from the series in 1998 after four seasons. “Something was instilled in me very early on that you keep doing a thing as long as you want to do a thing,” she said. “Then I went back to high school and I was bored.”
But while she was ostensibly back in high school full-time, Oleynik was still acting as well. One of her most noteworthy jobs came around this time, when she played Bianca in 1999’s Taming of the Shrew-inspired 10 Things I Hate About You. But she also wanted to pursue higher education. While filming, she remembers applying to college alongside fellow 17-year-old costars Julia Stiles and Joseph Gordon-Levitt.
Strangely enough, Oleynik ended up at Sarah Lawrence, the liberal arts college Stiles’ character Kat regards with reverence in 10 Things. At college, she almost fully moved on from acting, going on the occasional audition but focusing most of her energy into school. At the time, she doubted if she would ever return to her former career.
“I thought I probably wasn’t [going back to acting]. I didn’t study theater while I was there,” she said. “I just wrote a lot of really bad poetry.”
“I liked kind of starting over and having a little bit of a clean slate.”
Oleynik gushes about her time at Sarah Lawrence, saying she’d do it all over again in a heartbeat. But after graduating, she realized that her acting career wasn’t actually over. “What I thought was me wanting to leave the business was actually just me saying, no, I’m ready to be a different kind of actor,” she explained.
It wasn’t easy to step back into the acting world. For one thing, Oleynik had been mostly off the radar for a few years. For another, those who were familiar with her work knew her as a teen star, which meant she had to reintroduce herself as an adult actor. But that endeavor didn’t bother her — she appreciated that she was going out for smaller, more character-driven roles in movies and guest spots on TV shows.
“I liked kind of starting over and having a little bit of a clean slate,” she said. “And as soon as I got back on set, I was like, Oh, right, I love this.”
Most of what Oleynik has done since then has been lower-profile than her early work, but she’s managed to find roles that excite her. She did episodes of Malcolm in the Middle, Mike & Molly, and Without a Trace, and had recurring roles on Hawaii Five-O (where she got to die onscreen) and Mad Men (where she got to be married to Ken Cosgrove). She even returned to the world of teen television with an arc on Pretty Little Liars.
The way Oleynik sees it, acting is a relationship, and as long as she’s checking in with herself and making sure she still enjoys it, she’s glad to keep doing it. It helps that the hard-work aspect of being a character actor is something she treasures. When Baghdaddy came along, it was exactly the kind of endurance test she was looking for.
“I always find things that are challenging, but for me, roles like this come up about once every five years,” she said. “Whatever life this show has or doesn’t have, it is a reminder of the way that you want to feel in your work and the kinds of stuff you want to be seeking out. It’s always more fun when you’re challenging every part of yourself.”
That challenge included dancing. Oleynik admitted to being a bit taken aback when she first met Baghdaddy choreographer Misha Shields: This was going to be a real musical. And then, of course, there’s the singing — and rapping — as Oleynik’s CIA analyst Berry wrestles with her complicity in the Iraq War through song.
The show is largely lighthearted in its approach to recent history, but it’s not without somber moments. And the larger-than-life story is made all the more poignant and enraging by the fact that, as the actors remind the audience, it’s based on what really happened. Baghdaddy isn’t just challenging for the actors who perform it; it takes something out of the audience, too.
“At the end of the show, I get a chance to look around and feel like I’ve really, really shared in something with a whole new group of people, and it’s exciting and thrilling every time,” Oleynik said. “Most people leave with more of a sense of community and what’s possible with community, and being a little bit more vulnerable than you’re usually comfortable with.”
Doing the show has required Oleynik to step back into the public: She’s far more active on her Twitter account than she had been before the run, engaging in conversations with followers as she encourages people to come see a show that she believes is important.
To be fair, she hasn’t been totally MIA over the past decade — she’s just been more removed. But over the past few years, she’s picked up on the uptick in ’90s nostalgia that once again boosted her profile, as Alex Mack reruns returned to television and sunflower dresses popped up at Urban Outfitters. And even if she weren’t more actively involved in promoting Baghdaddy, she’d still be meeting people constantly. Oleynik said that she’s recognized at least once a day.
While some fans praise Alex Mack or 10 Things I Hate About You, there are also the people who don’t really know why they’re approaching Oleynik. They see her and feel compelled to say hi, because they’re sure — on some level — that they grew up together.
“People just constantly think they know me, but that we went to camp together,” she said, smiling warmly. “I take it as a huge compliment. Makes me feel cozy.”
1. Bank employees get led out in cuffs in Abacus: Small Enough to Jail.
Only one US bank ended up indicted for mortgage fraud in the wake of the 2008 financial crisis that crashed markets and set off a global economic downturn. It wasn’t JPMorgan Chase or Citigroup or another widely recognized name — it was Abacus Federal Savings Bank, a small institution servicing primarily a Chinese-American clientele. In May 2012, the family-run affair, with its roots in Manhattan’s Chinatown and a mortgage default rate that was a fraction of the national average, drew the attention of the New York County District Attorney’s Office.
The idea of a movie about a bank’s prosecution might not exactly sound riveting, but Abacus: Small Enough to Jail director Steve James (the documentarian responsible for Hoop Dreams and The Interrupters) manages to present the case like an epic David-and-Goliath struggle. And, in a rare instance these days, it’s not the bank that comes out looking like the villain.
James presents, instead, a multilayered and quietly enraging story about immigrants being treated as easy targets. The film explores how Abacus’s attempts to bridge cultural gaps for a sometimes insular community left it vulnerable to a DA’s office that sensed the potential for (and PR to be found in) a win against a financial institution, if not one of the apparently untouchable major ones.
The most eloquent image it puts onscreen is one that was actually staged for the press: a group of the bank’s employees being paraded in linked handcuffs, hiding their faces from the cameras. It’s a scene that, as interviewee and journalist Matt Taibbi notes, resembles “this almost Stalinist-looking chain gang.” One of the people in handcuffs puts it more simply: “It is a humiliation.”
2. A train ride turns incredibly tense in The Age of Shadows.
Like last year’s The Handmaiden, The Age of Shadows is a thriller set in an oppressive but gorgeously rendered Japan-occupied Korea in the 1920s-’30s. It’s also packed with twists and tension (while coming up short on the startling explicit sex — sorry); but in its case, all that intrigue is for the sake of the nation.
Most of the characters in The Age of Shadows are resistance fighters plotting against their foreign oppressors by way of a plan to smuggle explosives in from Shanghai, a calling that comes with a high risk of death, torture, or imprisonment. The film’s most fascinating figure, however, isn’t a rebel — he’s an opportunistic police captain named Lee Jung-chool (the great Song Kang-ho) who was once resistance-adjacent but has since turned his loyalty, and his investigative services, over to the Japanese.
Resistance fighter Kim Woo-jin (Gong Yoo) believes that Jung-chool, having been turned once, could be turned again, and their canny, calculated back-and-forths become the film’s backbone. But it’s action that director Kim Jee-woon (of A Bittersweet Life,I Saw The Devil, and the Arnold Schwarzenegger film The Last Stand) is renowned for. And that’s exactly what he provides in a series of stunning set pieces that make up for any espionage incomprehensibility, from an opening involving a police chase over rooftops to a chaotic train station shootout. The train ride becomes the film’s highlight, a brilliant sequence in which characters try to hide amid passengers, goods are smuggled, loyalties flip, and everything goes fabulously to hell despite everyone’s best efforts.
How to see it:The Age of Shadows is new to DVD and Blu-ray, and is also available for digital rental and purchase.
3. George Lazenby gets laid on the studio’s dime in Becoming Bond.
The only consolation for losing one James Bond in May is getting such a rollicking tribute to another one, George Lazenby, in the form of Becoming Bond, Josh Greenbaum’s Hulu original documentary. Lazenby, an Australian model with no acting experience, was famously chosen to replace Sean Connery in 1969’s On Her Majesty’s Secret Service. Even more famously, Lazenby would play the iconic spy only once, brashly walking away from a multipicture deal to become an entertainment history punchline.
In Becoming Bond, he walks the audience through all this and more, starting with his working-class upbringing as a mechanic turned salesman, through the loss of his virginity, his romance with an upper-crust woman, and his eventual, incredible finagling of the world’s most coveted role. Greenbaum makes the very smart decision to stage Lazenby’s stories, Drunk History–style, with a cast that includes Josh Lawson as the man himself, as well as appearances from Jane Seymour, Jeff Garlin, and Dana Carvey.
The approach provides some distance from Lazenby’s sometimes unfortunately of-its-era treatment of women, and emphasizes the hilarity of this bluff, oblivious, hard-partying Aussie stumbling into stardom. In the best scene, Jake Johnson shows up at Lazenby’s door with a woman the soon-to-be-Bond cheerily and unquestionably begins banging, only to be informed later that the strange setup was staged by the studio to confirm his sexuality. Lazenby, unfazed by that and by seemingly everything else, shrugs and goes on.
4. A traveler realizes she’s trapped in Berlin Syndrome.
The most painful scene in the abduction drama Berlin Syndrome isn’t the one in which Australian backpacker Clare (Teresa Palmer) first finds herself locked in the isolated apartment belonging to her fling Andi (Max Riemelt). That first day she plays off as an accident, the man she went home with forgetting to leave her a key after he heads off to work. It’s the second day in which she understands that it’s intentional — that the handsome German she met on the street and ended up postponing her trip to be with is dangerous. She doesn’t want to believe it, which is what makes the realization so slow and sickening — she keeps up a charade of everything being fine for as long as possible, until the urgency of her situation can no longer be ignored.
Berlin Syndrome is the rare abduction drama directed by a woman — filmmaker Cate Shortland, of Somersault and Lore. And that’s something you can feel in all of its choices, including the way it keeps Clare at its heart even when it follows Andi into the outside world he’s denied her. The film never turns Clare’s fear or suffering into spectacle — it’s about her experiences, about how she rebels against and then tries to manipulate Andi’s obsession and desire for a simulacrum of a normal relationship to her advantage. The result is an effective but never exploitative play on what plagues every solo female traveler — that you want to be open, to meet strangers and experience new places, but that that same trusting approach to exploring can also leave you horribly exposed.
How to see it:Berlin Syndrome is available for digital rental and purchase.
5. Tracy Letts sings in The Lovers.
The Lovers starts like a French adultery farce that’s been dropped into the most unromantic of suburban California settings. The cars are sensible, the couches are dumpy, the jobs involve seas of cubicles — and yet the orchestral score swoons when Michael (Tracy Letts) and Mary (Debra Winger), two halves of a long-wed couple, meet up with their respective lovers. Mary is seeing Robert (Aidan Gillen), a writer, while Michael is dallying with Lucy (Melora Walters), a hot-tempered ballet instructor. Both Michael and Mary insist, separately, that their marriage is over and that they’re ready to leave, to commit to their new partners — until an unexpected evening spent together results in the two rediscovering a sexual spark.
If this all sounds high-concept — a marital affair in the midst of two extramarital ones — well, The Lovers does play as a little schematic as first. But Azazel Jacobs’ movie is worth sticking with as it builds into something more bitter and complex about the nature of love, about how it can abide in ways that have nothing to do with the ebb and flow of passion or of even being able to stand one another. The Lovers features impressively frank lovemaking between characters of an age at which they’re usually consigned to onscreen sexlessness. But its rawest scene actually involves a song, performed by Letts after a visit from the couple’s son (Tyler Ross) and his new girlfriend (Jessica Sula) has brought all sorts of long-simmering anger and disappointment to light. It’s a familiar tune that’s transformed into something heartbreaking, carrying the weight of years — or just the weight of a decades-long relationship.
6. Survivors cry about wanting to go home in Seoul Station.
Before South Korean filmmaker Yeon Sang-ho made the 2016 zombies-on-a-train thriller Train to Busan, he was known for his work in animation. So it’s not so odd that his prequel to that breakout hit, Seoul Station, is animated. But what is startling is that it’s even darker than the live-action film it precedes, in terms of both its ravenous undead action and its pointed social commentary.
The movie takes place in a Seoul teetering unknowingly on the verge of apocalypse, and it centers on characters who’ve been relegated to society’s outskirts — in particular, on a teenage runaway who’s forced into sex work, the father and ne’er-do-well boyfriend looking for her, and a group of homeless men living in the train station.
Maybe it’s the abstraction of animation that allows Seoul Station to get away with being so bracingly harsh — either way, it works from the beginning. In the dark suspense of the opening sequence, a homeless man with a developmental disorder tries and fails, repeatedly, to get help for his bitten friend. Even when that friend lurches back to life with alarming appetites, the city’s residents remain skeptical about claims of an infection, finding it easier to look away or to blame the aberrance on homelessness rather than believe something has gone terribly wrong.
By the time the body count picks up, it’s too late to do anything but run, or cry about wanting to go home, which is exactly what two characters do in the movie’s most relatable moment. It’s a plaintive, hopeless desire that gets turned into a very grim joke in the film’s final setting, achieving the kind of ending that makes you think, Hey, maybe it’s the zombies we should be rooting for.
“After 23 episodes, 16 cities and 13 countries, the story of the Sense8 cluster is coming to an end,” Cindy Holland, vice president of original content for Netflix, said in a statement. “It is everything we and the fans dreamed it would be: bold, emotional, stunning, kick ass, and outright unforgettable. Never has there been a more truly global show with an equally diverse and international cast and crew, which is only mirrored by the connected community of deeply passionate fans all around the world. We thank Lana [Wachowski], Lilly [Wachowski], Joe [Michael Straczynski] and Grant [Hill] for their vision, and the entire cast and crew for their craftsmanship and commitment.”
“I hope every man will boycott Austin and do what he can to diminish Austin and to cause damage to the city’s image. The theater that pandered to the sexism typical of women will, I hope, regret it’s decision. The notion of a woman hero is a fine example of women’s eagerness to accept the appearance of achievement without actual achievement. Women learn from an early age to value make-up, that it’s OK to pretend that you are greater than you actually are. Women pretend they do not know that only men serve in combat because they are content to have an easier ride. Women gladly accept gold medals at the Olympics for coming in 10th and competing only against the second class of athletes.
Name something invented by a woman! Achievements by the second rate gender pale in comparison to virtually everything great in human history was accomplished by men, not women. If Austin does not host a men only counter event, I will never visit Austin and will welcome it’s deteriorati on. And I will not forget that Austin is best known for Charles Whitman. Does Austin stand for gender equality or for kissing up to women? Don’t bother to respond. I already know the answer. I do not hate women. I hate their rampant hypocrisy and the hypocrisy of the “women’s movement.” Women do not want gender equality; they want more for women. Don’t bother to respond because I am sure your cowardice will generate nothing worth reading.”
Lee Garrett, a contestant on the current season of ABC’s The Bachelorette, has locked his Twitter account after a series of racist, sexist, and Islamophobic tweets from before the show filmed were exposed.
“What’s the difference between the NAACP and the KKK? Wait for it… One has the sense of shame to cover their racist ass faces,” he posted, according to a screenshot from Twitter user @emesola. Garrett also appears to have tweeted a petition to have Black Lives Matter recognized as a terrorist group. In another tweet, he allegedly wrote, “When is the last time you saw a pretty feminist? There is a reason for this,” and in another: “I don’t hate Muslims, I do hate Islam. I just mindfucked a few liberals for standing for something while making reasonable sense.”
Garrett is currently vying for love on of The Bachelorette with Rachel Lindsay, the franchise’s first black lead.
More than a dozen alleged tweets from Garrett throughout 2015 and 2016 have been published by a handful of websites in the last 24 hours.
ABC and Warner Bros. — which produces The Bachelorette — had no comment on the matter, and Garrett did not immediately reply to BuzzFeed News’ request for a comment.
A three-minute promo for what’s to come hinted that Garrett may emerge as this season’s villain.
The announcement that Lindsay had been chosen as the next bachelorette felt like a long overdue decision as the franchise had infamously never featured a black Bachelorette or Bachelor.
Lindsay, who originally appeared opposite Bachelor Nick Viall earlier this year, was instantly a fan favorite and while her search for love got off to an awkward start, it appears that Lindsay’s time on The Bachelorette was well-spent since she — spoiler alert! — posted on Instagram that she is currently engaged.
Jarett Wieselman is a senior entertainment editor for BuzzFeed News and is based in Los Angeles. Wieselman writes about and reports on the television industry.
The critically acclaimed series Underground was canceled by WGN America this week, and Black Twitter is crying foul.
The show, produced by John Legend’s Get Lifted Film Company, trended on Twitter weekly and brought in record ratings for the burgeoning network when it premiered in March 2016. That mixed with the fact that it centered on the Underground Railroad and featured a predominantly black cast has many people unhappy, but the situation is more complicated than what could easily be pointed to as racism in Hollywood.
It all started in mid-April when WGN America canceled its highest-rated drama, Outsiders. Peter Kern, the president and CEO of Tribune Media, WGN’s parent company, gave the following explanation for the cancellation at the time: “We will be reallocating our resources to a more diverse programming strategy and to new structures, enabling us to expand both the quantity and breadth of content aired by WGN America.”
Some took the vague statement as a sign that WGN America was trying to spend less money on scripted series (it is expensive to make period pieces and shoot on location, as we just saw with Netflix’s The Get Down), while others remained optimistic that “more diverse programming” meant more racially diverse programming, like Underground.
It’d be easy to point to that as the reason Underground, a highly publicized hit, got the axe, but the explanation Kern gave on Tuesday reflects his statement about Outsiders. “As WGN America evolves and broadens the scope and scale of its portfolio of series, we recently announced that resources will be reallocated to a new strategy to increase our relevance within the rapidly changing television landscape,” he said. “This move is designed to deliver additional value for our advertising and distribution partners and offer viewers more original content across our air.” TL;DR: Being in the business of prestige drama series is incredibly expensive, and WGN America cleaned house to increase the quantity of original shows on the network. (Undergroundreportedly costs $5 million per episode, according to The Hollywood Reporter.)
WGN America has only had four original scripted series to date, and Underground and Outsiders had marked an upswing for the network. They also had high-profile series in development, like Black Wall Street from Get Lifted and a TV adaptation of DC Comics’ Scalped.
While Underground showrunner Misha Green left the series a week after the Sinclair deal to run Jordan Peele’s new HBO series, Legend still holds onto hope that another network will pick up the groundbreaking series…and he tweeted a not-so-veiled warning about Sinclair.
Sony Pictures Television, which distributes Underground, has a history of saving shows — Community went from NBC to Yahoo Screen, and Damages went from FX to DirecTV Audience Network — but because Hulu has exclusive subscription video-on-demand rights to Underground, it might not end up surviving.
When contacted by BuzzFeed News, Sony TV did not have a comment about the future of the series or the reasons behind the cancellation. Legend and Get Lifted did not immediately reply to BuzzFeed News’ requests for comment.
The album rose to No. 1 on the US Billboard chart in its second week, making Foxx the fourth artist to have ever won an Academy Award for acting, while achieving a No. 1 album on the US Billboard charts. It’s the second of four albums Foxx has blessed us with.