Foreign Secretary Dominic Raab will deputise for the prime minister where necessary.

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Today: How to let your friends without jobs know you want to give them money, as well as questions about redeeming gift cards and antiseptic wipes.

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After explaining Chuck D explained Flavor Flav’s “split” from Public Enemy, the preview clip from this week’s episode of People’s Party With Talib Kweli, the full episode has arrived and it’s a supersized doozy. Clocking in at two hours, the two revolutionary rappers cover a lot of ground, from Chuck’s upbringing in New York to the impact of Public Enemy on hip-hop and pop culture to Chuck D mentoring Tupac early in his career.

“Tupac was like a little brother to us,” Chuck says. “He was the dude carrying bags for Digital Underground. But also, Shock G would let him get a little rhyme time if they expanded the show out. Public Enemy, our responsibility was to bring other cats on the show. He explains that Public Enemy was one of the first hip-hop acts to leave New York and experience other regions’ takes on the burgeoning genre. “We were the first to actually go in the regions put them on the show and shout them out.”

“So ‘Pac and Treach were both carrying bags for Queen Latifah and Digital Underground… So both of these dudes, nineteen years old, we’d go to a city and they rolling out together. I said, ‘Dudes, don’t f*ck up. We ain’t gon’ come to save your ass.’ I was Uncle Chuck,” he jokes. “It was a wonderful joy seeing them young men enjoy their coming out.” He praises them as rookies who became superstars and compares himself to a coach, saying hip-hop needs more mentors to guide future generations.

People’s Party is a weekly interview show hosted by Talib Kweli with big-name guests exploring hip-hop, culture, and politics. Subscribe via Apple, Spotify, or YouTube.

Last week, The Weeknd ended Roddy’s Ricch’s impressive run at the top of the charts, as “Blinding Lights” knocked “The Box” out of the No. 1 spot on the Billboard Hot 100. Now, one week later, “Blinding Lights” is still thriving: On the Hot 100 chart dated April 11, The Weeknd’s hit single once again holds the No. 1 spot. This follows the news that After Hours is also No. 1 again, on the Billboard 200.

Music isn’t all The Weeknd has been focusing on lately. Aside from his role in Uncut Gems, he also co-wrote and stars in an upcoming episode of American Dad, which will also feature new music from him.

Meanwhile, Billboard also notes that Post Malone’s “Circles” is in the top five of the chart for its 26th week, thanks to its No. 4 placement this time around. That puts it one week away from tying the record for most weeks spent in the top five, as Ed Sheeran’s “Shape Of You” and The Chainsmokers’ Halsey-featuring hit “Closer” each did it for 27 weeks.

Read our review of After Hours here.

After Hours is out now via Republic Records. Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

With so much music coming out all the time, great albums are bound to fall through the cracks. But that’s probably even more common for pop-leaning artists who are on indie labels, often eclipsed by the huge campaigns surrounding the massive pop stars, even if their music is just as good, if not better. Occupying this strange space between the ultra famous and more established indie stars can be tough for emerging artists — or career ones — who exist in the middle realm.

Luckily, it’s my job to keep a lookout for these albums that are bubbling just under the surface, and I’ve collected ten of them to get you through another month of staying indoors. Music is a great way to mark time, so maybe throw a couple of these records on this month to help make the days go by. There is an end in sight, and staying positively distracted with a good soundtrack is a good way to keep in a healthy frame of mind. Check out these records you might’ve missed below.

Anna Burch — If You’re Dreaming

It would be easy to describe the steady, peaceful pacing of Anna Burch’s second album, If You’re Dreaming as, well, dreamy. The twelve-track follow-up to her 2018 solo debut, Quit The Curse is a departure from the jangling, guitar-rock that put her on the map, pushing outward into slower and hypnotic tunes that are perfect for zoning out and stretching out. Written in part as a self-soothing exercise after many long months on the road and a series of tumultuous housing situations, these songs are beyond dreamy, they’re lullabies for a turbulent world. They’re more lucid than dreams, and better for it.

Half Waif — The Caretaker

Nandi Rose Plunkett’s exploration of loneliness and self-care unfolds on her surreal, swirling new album, The Caretaker, another strong entry — if not the strongest — into Half Waif‘s already formidable discography. Decamping from Brooklyn to live upstate on a rather remote estate, Nandi’s character of the caretaker is self-informed, but with enough room to bring the mesmerizing world of the country’s strange wildlife and mythology into play. This is an album full of such deft self-excavation that listeners might find themselves uncovering forgotten layers of themselves, too.

Jordana — Classical Notions Of Happiness

Initially released on Bandcamp as a collection of the early thoughts, feelings, and musical ideas of 19-year-old Jordana Nye, Classical Notions Of Happiness quickly caught the ear of the internet, and after co-signs from Anthony Fantano of The Needle Drop and Pitchfork, Nye landed herself a record deal with the New York-based label, Grand Jury. The label not only re-released Nye’s DIY demos, but incorporated three new tracks from the wunderkind, who is quickly outgrowing her dewy bedroom synths for some freewheeling psychedelic warbling on the album’s closer, “Crunch.” On Happiness, Nye contains multitudes, and listening to her expand feels almost like doing it yourself.

Shoffy — Flash

An Uproxx fav from 2018, LA-based producer Shoffy is back with another collection of electro-pop that undeniably grooves. His last release, Lenses, was a completely independent album, with no guests or features, but this year’s Flash includes a number of welcome — and surprising — guests. From emerging R&B singers like Sabrina Carpenter, who sings on two songs here, to the Soundcloud veteran producers RAC, the new voices and sounds help Shoffy build on his smart, sweet synth-pop sound.

Galantis — Church

Galantis is the kind of EDM group who can bring together everyone, from Dolly Parton to Passion Pit. The DJ duo of Christian Karlsson (of Miike Snow) and Linus Eklöw know how to craft the kind of epic dancefloor hit that can turn your living room into the club — at least until the end of the song. Throw this on for ultimate jams that are catchy and ebullient enough to make the outside world disappear, and make dance the universal language of recovery. Sometimes, all you need to survive the night is to dance till the drop hits.

Allie X — Cape God

Allie X is one of the unsung pop stars of our time, but she comes through like the world’s biggest star on her newest album, Cape God. With features like Mitski (!) and Troye Sivan, the Toronto-raised/LA-based singer/songwriter released her second studio album in February of this year, quietly building momentum off the gloomy pop bops like “Devil I Know.” Writing songs from the perspective of characters in the 2015 documentary, Heroin: Cape Cod, this sometimes dark, sometimes campy pop exploration is as weird as Lana, and as experimental as St. Vincent.

Caribou — Suddenly

Every record that Dan Snaith releases as Caribou seems to top the one before, and Suddenly was a welcome addition to the producer’s oeuvre. It’s hard to say anything tops his last record, Our Love, but maybe because it’s been six years since that one dropped, it makes Suddenly all the sweeter. No one can spin a single synth sound and a whisper-sung lyric into a soothing, soulful song like Snaith can, but the moments on this album that get jittery and weird are just as welcome, like when “Sunny’s Time” ventures into a strange jazz freakout. Standout track “Home” brings an old soul sample in alongside glitchy and comforting production that never veers off course or gets too heavy-handed, a feat only Snaith could pull off.

Caitlyn Smith — Supernova

Walking the tightrope between the folk/country and indie/pop worlds is harder than it looks, but Caitlyn Smith has pulled it off to great success on her latest album, Supernova. With fiery anthems like “Damn You For Breaking My Heart” and bleary, string-laden ballads like the title track, Smith showcases her work as an inventive, flexible songwriting who pens songs that supersede genre. Smith knows how to make songs smoke and let them burn, but she’s also an expert at barely stoking the embers, and letting a song’s heat catch flame at just right moment, as showcased on “I Can’t,” a brassy sigh of exasperation that I’ve been returning to during crises big and small.

Elliot Moss — A Change In Diet

Following up his impressive debut, Highspeeds in 2015, Elliot Moss has been racking up comparisons to the likes of Bon Iver and James Blake as one of the great emotion-driven songwriters who can convert those feelings into electronic production. Following up the shorter EP-length release Boomerang in 2017, his second full-length, A Change In Diet opens up his songwriting and production even farther into post-Yeezus territory. Falsetto vocals, slithering beats, and flickering synths make this a must-listen for rainy nights and long, grey days.

Torres — Silver Tongue

After splitting with her former label, 4AD, Mackenzie Scott quickly signed with the legendary North Carolina label Merge Records, and prepared a full departure from her 2017 release, Three Futures. This year’s Silver Tongue is best described by Scott herself: “I feel like I’ve lived an entire lifetime in the three years since recording Three Future. This new record documents the significant fruits, for better or worse, of some terrifically delusional pursuits.” While it might be more meandering and abstract than some of her past work, it’s a gorgeous, strangely dark reminder of what a songwriting force Scott has always been. Listen for mythic, dark-pop reflections on just about everything.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Before Fleabag was turned into an Emmy-winning show, it was an acclaimed one-woman show. That woman: No Time to Die co-writer, Killing Eve creator, and guinea pig enthusiast Phoebe Waller-Bridge, who returned to London’s West End for more performances in 2019. One of those productions was broadcast into theaters last year (theatres, for my Hot Priest-loving friends across the pond), but if you missed it, Fleabag Live is being released online to raise money for COVID-19 charities.

“I hope this filmed performance of Fleabag can help raise money while providing a little theatrical entertainment in these isolated times,” Waller-Bridge said. “Thank you to all our partners and to the creative team who have waived their royalties from this production to raise money for such vital causes in this unbelievably challenging situation. All money raised will support the people throughout our society who are fighting for us on the frontlines and those financially devastated by the crisis, including those in the theatre community. Thank you in advance to those who donate. Now go get into bed with Fleabag. It’s for charity.” Pretty sure she’s specifically talking to Obama there.

Fleabag Live premiered today in the UK and Ireland on Soho Theatre’s On Demand streaming site, and will hit Amazon Prime Video in the United States beginning Friday, April 10; it will run for two weeks. A 48-hour rental costs five bucks.

(Via Deadline)

Queens-born Korean producer Yaeji unveiled her revved-up mixtape What We Drew last week. To celebrate her highly-anticipated release, Yaeji debuted an animated lyric video to the track “When I Grow Up” as a reflection on the themes of her early childhood.

Animated and directed by Luis Yang, the visual moves in alignment with Yaeji’s jarring synth beat. Each component of the animation somehow ties in with the theme of Yaeji’s mixtape. Dancing onions and flashing video game controllers float around the producer’s outlined alter-ego.

In a statement, Yaeji said the track is an acute reflection on her childhood: “‘WHEN I GROW UP’ is a song of two perspectives talking with each other. one is me from my childhood, wondering what it would be like when i become an adult. the other is me as an adult, breaking the truth to young me,” she said.

In a recent interview with Vice‘s Garage Magazine, Yaeji discussed her draw to visual art as a medium, which can be seen through her “When I Grow Up” video:

“I’ve always been way more comfortable with visual art for a very long period of my life,” she said. “I think the earliest memory I have is when I was four years old: I was painting a lot, and decided then that I would become a visual artist when I grew up, and I stayed pretty consistently on that path until college. I’m still really comforted by it. I would say my visual art making practice is really similar to music making in a lot of ways. I’m more of a process-based artist, and I’m really frantic and messy sometimes, and abstract and expressive. Often you have to just let it all out that way and then clean it up and organize it later, and understand the bigger picture of the messaging of it.”

Watch Yaeji’s “When I Grow Up” lyric video above.

What We Drew is out now via XL. Get it here.

WrestleMania 36 — all two nights and 16 matches of it — is officially in the books. While there were memorable moments throughout both broadcasts, nothing got the wrestling world talking as much as the Firefly Fun House match between Bray Wyatt and John Cena, in a rematch of their original encounter at WrestleMania 30. (Read Brandon Stroud’s incredibly in-depth analysis of the Firefly Fun House match here.)

While the WWE Universe is split as to whether or not they enjoyed it — or, heck, whether it was actually a match — those within the industry had pretty strong feelings about the segment and had no problem sharing them.

First up, let’s check in with some of the performers who actually shared the WrestleMania 36 card with Cena and Wyatt, including comments from Dolph Ziggler and WWE Hall Of Famer JBL:

Of course, plenty of WWE talent were not on the Mania card this year, due to injuries, travel bans or to minimize health risks. That didn’t stop everyone from Xavier Woods to Nia Jax and plenty more from weighing in on this one-of-a-kind match:

Now, sure, you might think that of course folks on the WWE payroll will have nice things to say about this match. But if we cast the net wider, we see that the combat-sports world in general — even someone who was parodied in the match and was fired from the company six months ago — seemed to really dig what Wyatt and Cena created:

As for Cena himself? He took to Twitter earlier today to deliver his typical motivational nugget:

But his Instagram tells another story entirely:

Is this the end of John Cena’s WWE career? I mean, he disappeared at the end of the Firefly Fun House match, so technically we can’t see him anymore…

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Welcome to the age of Quibi, or whatever exactly today marks as the debut of the new mobile streaming service. The era of Quibi, maybe? It’s hard to say. We’ll have to see if any of this actually works first. The whole project, started by Jeffrey Katzenberg and a slew of deep-pocketed Hollywood types with the kind of juice one needs to get big-name stars to sign on to a weird content experiment, is a delivery system for quick bites of entertainment, little chunks of 5-10 minutes that you can consume in pieces on your phone. That’s where the name Quibi comes from: Quick Bites. We’re all learning so much today.

There’s a lot to sort through already with more on the way very soon. Below, our slate of television experts attempts to sort through some of the best (and weirdest) offerings that Quibi dropped on its opening day, from a scripted fantasy series starring Sophie Turner to a cooking show that features flying food and a series of messes. It’s, again, a lot. We did out best. Quibi.

Murder House Flip

I’m generally not a fan of home renovation shows. Like, I have zero interest in watching the Property Brothers (who seem like nice enough guys, by the way) pretend to demolish and rebuild a whole house without even reloading a tool belt. Their smiles are too sparkly, their hair too perfect, and their vast renovation accomplishments feel too easy (especially since one of them usually wears a suit), you know? I, for one (and I know I’m not alone), would dig a grittier approach, and something that feels like only true elbow grease (and maybe an exorcist) could get the job done. Well, there’s no better way to grit things up than by finding out that a home near the beach is such a steal because someone once plopped eight bodies in the backyard. Granted, not all of the claims on this show might be real. I’m prepared to suspend some disbelief for the haunted house vibes that might be full of garbage, and trust, I will be giggling along with those scenes. Yet I still appreciate that Quibi’s fashioning a twisted hybrid of an HGTV-type house-hunting-and-renovation show with a faux-procedural bent that borders on self-parody. It’s so morbid, but both types of shows do deserve to be roasted, and there’s no better way to do that than by combining them. I can’t help but feel addicted already to these wild murder homes, even before the service has launched, so this series will be my first stop. — Kimberly Ricci

Dishmantled

Just last month, the United Nations warned that the coronavirus pandemic could lead to food shortages around the globe. Already, in the United States, there are hours-long waits at food banks and countless restaurants have already shuttered, or will permanently close by the end of the month. Anyway, here’s Dishmantled, a show where “we blast a dish to smithereens,” as host Tituss Burgess explains, “to see if two blindfolded chefs can guess it, then make it.” Think: Nailed It or Chopped meets the sticky money booth from Matilda. OK, it’s not Dishmantled’s fault that it’s come out at the wrong time — although one could argue that there’s no good time for a food-waste show where someone says, “I tasted cheese off my shoe” — but if you squint, you can see the appeal. For one thing, Burgess, best known for playing Titus Andromedon on Unbreakable Kimmy Schmidt, is a treasure; also, guests include Dan Levy and Jane Krakowski, and the first three episodes are all under six-and-a-half minutes. But can I, in good conscience, recommend Dishmantled? (It will not surprise you to learn that this isn’t the only launch-day show with a pun for a title. Find the others!) Not really, no… but in the intro, Tituss asks, “Y’all ready to watch me blow some shit up?” while wearing a shirt and pants combo covered in popsicles. So, at the same time, yes, watch at least the first two episodes. — Josh Kurp

Survive

It’s hard to resist the urge to make a Game of Thrones-inspired joke after learning the premise of Sophie Turner’s segmented drama for Quibi, but we’re nothing if not professional here at Uproxx so I’ll ignore the fact that, once again, Turner is playing a tortured young woman struggling to survive in a subzero environment. I’ll even – with great, herculean effort, mind you – overlook the wolves that pop up midway through this artic adventure and instead lay out what works when it comes to this “movie” and what doesn’t. Corey Hawkins as the stereotypical nice guy who loses his sh*t when he realizes the only other survivor of his plane crash is a suicidal white girl with daddy issues? Works. Turner as a deeply troubled PTSD patient at a mental health retreat who plans to kill herself on her plane ride home? Works. Breaking this short story up into eight-minute long “episodes?” Doesn’t work. It’s the format that really lets this movie down mostly because entire installments must be filled with enough exposition and transitional material to make the more climactic moments make sense. If you can sit through them, you’ll discover a surprisingly thoughtful, at times action-packed, musing on the value of life and our capacity to endure hardship while holding onto hope. And wolves. There are wolves eventually. — Jessica Toomer

Flipped

Flipped, not to be confused with Murder House Flip, stars Uproxx favorites Kaitlin Olson (It’s Always Sunny in Philadelphia) and Will Forte (SNL) as a couple who quit their day jobs to become Chip and Joanna Gaines-type home renovation stars. They buy a foreclosed fixer-upper in the middle of nowhere, only to discover a wad of money in the wall. That’s when the cartel gets involved. Hijinks ensue, etc.

Of the half dozen or so Quibi shows I watched, Flipped was my favorite (even if the first three episodes, the ones screened to critics, feel like a chopped-up pilot). Forte and Olson have good comedic chemistry, Andy Garcia and Arturo Castro pop up in later episodes, and it’s just funny enough to make you want to continue watching. It’s a good watch while taking the bus to work, or waiting at the DMV. In that sense, it’s the ideal Quibi show: you’ll forget about it as soon as it’s over, but it’s a decent enough way to kill 30 minutes. — JK

Chrissy’s Court

If anyone could follow in Judge Judy’s iconic Robert Clergerie heels, it’s Chrissy Teigen. The celebrity influencer and cookbook author has been keeping her husband’s ego in check for years – who knows what level of vanity EGOT winner John Legend could’ve ascended to if it weren’t for her? It’s Teigen’s signature brand of tough love that’s supposed to carry this reality remake and, for the most part, it works. Of course, episodes also hinge on the likability of the guests and how hot the tea they’re serving is. A gay couple arguing over a hideous sweatshirt just doesn’t hold the same appeal as a man suing his situationship partner for a car payment, but whether these are actors or real people with petty problems, Teigen’s charming enough to wade through the dramatics. And though she probably won’t like this, it’s her mom – who serves as courtroom bailiff – that’s the real MVP of the show. Their Grumpy Old Men schtick deserves all the minutes here. – JT

The Fugitive

Jack Bauer vs. Steve Murphy, or at least, the guys who played those characters, feels like a guaranteed recipe for success. Hell, 24‘s longevity proves that folks love to see Kiefer Sutherland calling the shots, so he’s the perfect lawman type to lead a retooling of the 1993 remake (of the 1960s TV series) starring Tommy Lee Jones and Harrison Ford. As an update to Ford’s character, Boyd Holbrook (Narcos and Run All Night) is also a pretty spot-on casting choice, given his popularity with the Netflix crowd. And that’s the name of the game for Quibi, right? That’s why they’re furiously stacking the content right out of the gate, plus they’ve updated the alleged crime of the “fugitive” as a bombing of mass transit, so there’s the adrenaline-fueled nature that this bite-sized series needs. Done? Not quite. Yes, of course I’m excited to see Kiefer blazing down the street while brandishing a gun. There’s also no possible way that this series doesn’t reel in not only fans of action TV series but other genres, given that Kiefer’s career has included a little bit of everything, and his appeal spans several generations of viewers. I do wonder what future seasons could be like, though. Eventually, Holbrook’s character should be exonerated, so will they cycle through other fugitives? If that’s the case, they’ll have no choice but to cast someone like, say, Scoot McNairy. (Full disclosure: I just wanna see Scoot on Quibi, and he’d probably be down with this show.) — KR

Fierce Queens

Reese Witherspoon hosts this nature show about females members of the animal kingdom, from big cats of prey to ants and everything in between. Maybe not everything. That would defeat the purpose of “quick bites.” But a lot of things at least, all narrated by Reese, because do you even have a streaming platform if you don’t have a show with Reese Witherspoon in it or involved in it? I submit that you do not.

The only here is… do you want to watch stunning nature footage on a vertical video on your phone? I don’t know. I guess that’s the big question with Quibi so far, and in general. This feels like a show that would be best served by a very large screen and very high-definition, like your Planet Earths and Blue Planets and such. Maybe that’s just the way my brain is conditioned, though. I’ve been wrong before. A lot. File this one, as with most of these, under I Guess We’ll See. — Brian Grubb

Shape of Pasta

But soft, what light through yonder quarantine darkness breaks? It is the east, and this Quibi show about the forgotten art of pasta making, is the sun. Did I expect to fall in love with this series that follows a renowned California chef traveling to remote villages in Italy to hunt down nearly extinct forms of handmade noodles? Of course. It’s carbs, fresh tomato sauce, and finely grated cheese. I’m not some psychopath. But did I expect to be crying my eyes out at the end of each episode as Evan Funke formed deeply human connections with elderly women who served as his culinary sensei in this most momentous of reality food show quests? No, no I did not. And yet, what is the purpose of life, the reason for our existence if not to worship at the feet of the grain-enriched dough delicately carved into an array of miscellaneous shapes, drenched in olive oils, pestos, and tomato-based sauces and served to us by kindly old women we call “Nonnas”? Let’s use this pandemic to get back to the basics, to what’s truly important in life. Homemade noodles. — JT

Killing Zac Efron

The star of the High School Musical trilogy went on to play Ted freaking Bundy, which was bonkers enough to behold. Then he attempted to pull a Bear Grylls, but it seems like he went even more hardcore than the original? Efron was reportedly hospitalized after contracting an infection while navigating extreme circumstances during the making of this show. Whereas Grylls has been caught doing the hotel thing while pretending to entirely rough it in the wild. I’m not saying that Efron was a total daredevil, and maybe some of what transpires will be exaggerated, but the fact that he landed in the hospital says that he was taking the thing fairly seriously. That’s scary, of course, but I also respect the heck out of how Efron’s gamely stepping outside of the heartthrob box. He could have easily spent a decade the same way that Matthew McConaughey did: as a shirtless bro in countless consecutive romcoms and in real life. We all knew that McConaughey could act the hell out of serious drama roles (still with a comedic edge), and thank god he started doing that again, but just think of all that lost time? Efron probably doesn’t have the range of McConaughey, but let’s just see where he ends up in a decade. He might surprise us all, but for now, I’m tuning in to see him one-up all of the so-called survivalists on TV. — KR

Nikki Fre$h

I’ll admit I was hesitant to watch this Quibi reality series following Nicole Richie as she transforms from Hollywood socialite into an eco-conscious trap icon. When you’ve witnessed the awe-inspiring feats of reality TV circa Richie’s 2003 show The Simple Life, you naturally doubt that lightning can, in fact, strike twice. This series isn’t as much of a guilty pleasure as watching Richie stick her forearm up a cow’s rear and have a bleach-tossing meltdown in a bar was back then, but it’s still bizarre and funny and totally on-brand for the TV personality. Richie is determined to bring awareness to a variety of issues – from global warming to veganism to the underappreciated world of bee-keeping fashion – and she’s doing it with this lightly-scripted reality show that once again has her interacting with us normals, this time as Nikki Fre$h, a trap queen who delivers a banger at the end of each episode. Alexis Rose, stay sharp. — JT

Reno 911!

Reno 911! has not premiered yet, in the most technical sense of the word, by which I mean it has not premiered at all. There is a trailer, though, which is all the excuse I need to discuss Reno 911! it turns out, so here goes that.

Reno 911! was a good and fun show that aired on Comedy Central for I want to say was 55 seasons. It was less than that. I know it was. But the marathons of it the network ran constantly made it feel like a bottomless pit of comedy. It had everything: alums of The State, stupid criminals, stupid police officers, and a format lifted from one of our greatest television shows ever, COPS. Also, the episodes were broken up into 5-10 minutes chunks that focused on each stupid crime, which actually makes it a natural fit for a platform that does this as its whole deal. I’m excited about this one. The only way I could be happier is if they also green light a new version of World’s Wildest Police Chases with Sheriff John Bunnell. Now that was a television program. — BG