Month: February 2022

The Trump Organization’s house of cards is beginning to fall, but its namesake is either pretending not to notice or truly doesn’t sense that financial ruin could be on the horizon. Meanwhile, Donald Trump’s business associates (both current and former) have a different view of the situation.

Earlier this week, The New York Times reported that Mazars USA, the former president’s longtime personal and business accounting firm, has severed all ties with Trump and The Trump Organization after determining that 10 years of his financial statements—from 2011 to 2020—could not be trusted. In the wake of that announcement, The Daily Beast spoke with several sources close to Trump who claim that they have urged Trump and those close to him to take the situation much more seriously—and that it has been a surprise to some people.

“I have said for years that this whole thing is one big fishing expedition,” one source said of the ongoing investigations into Trump and his companies. “I’ve expected it to just fizzle at some point, or to turn up ticky tacky shit that can score prosecutors big headlines. The Mazars news was the first time I started thinking, ‘Hey, this might be serious.’ Could Donald Trump [and his business] be screwed? I don’t know, but I’m not as confident as I once was in saying, ‘No.’”

Three people who spoke directly to Trump said that his outlook was positively sunny and that he claimed his businesses were doing “great.”

“But notably,” according to The Daily Beast, “all three predicted that this latest Mazars development would likely strengthen Trump’s resolve to run again for the presidency in 2024.” At the same time, it will scare off both accounting firms from taking Mazars’s place and banks from taking any further risks in loaning the former-turned-wannabe president money.

“This explodes the national security risk by a factor of 10, because now he’s going to be desperate for new loans,” Joseph Cirincione, a fellow at the Quincy Institute for Responsible Statecraft think tank, told The Daily Beast. “Legitimate banks are not going to touch him. So it expands the universe of shady characters who could offer him loans in return for favors that might include disclosing U.S. national security secrets.”

All of which is, well, terrifying.

(Via The Daily Beast)

Francis Ford Coppola has always been a risk-taker. Even after making three of the finest films of the 1970s (and beyond) with The Godfather, The Godfather: Part II, and The Conversation, the studios weren’t willing to take a gamble on Apocalypse Now, the five-time Oscar winner’s surreal fever dream of a Vietnam film, loosely based on Joseph Conrad’s Heart of Darkness. So he invested every cent he had to get the budget where it needed to be, and made one of the most celebrated war films of all time. “I invested all my money and own the film,” Coppola told The Washington Post in 1979. “I think I’ll get it back.”

But for as long as Coppola has been making movies, he has really wanted to make one movie: Megalopolis. And now, at the age of 82, the filmmaker told GQ that he’s ready to risk it all again and drop some seriously mad cash—likely more than $100 million—on finally seeing his pet project through to completion.

As GQ’s Zach Baron writes:

It is a film called Megalopolis, and Coppola has been trying to make it, intermittently, for more than 40 years. If I could summarize the plot for you in a concise way, I would, but I can’t, because Coppola can’t either. Ask him. “It’s very simple,” he’ll say. “The premise of Megalopolis? Well, it’s basically… I would ask you a question, first of all: Do you know much about utopia?”

The best I can do, after literally hours talking about it with him, is this: It’s a love story that is also a philosophical investigation of the nature of man; it’s set in New York, but a New York steeped in echoes of ancient Rome; its scale and ambition are vast enough that Coppola has estimated that it will cost $120 million to make. What he dreams about, he said, is creating something like It’s a Wonderful Life—a movie everyone goes to see, once a year, forever. “On New Year’s, instead of talking about the fact that you’re going to give up carbohydrates, I’d like this one question to be discussed, which is: Is the society we live in the only one available to us? And discuss it.”

It’s certainly a tall order, but given that this year marks the 50th anniversary of The Godfather, maybe it’s not so far-fetched to believe that if anyone can make the next great classic film, it would be Coppola. Even so, no studio in Hollywood seems ready to make that gamble.

After more than four decades of talking about Megalopolis—which he says is as ambitious as Apocalypse Now—Coppola understands that, “the more personal I make it, and the more like a dream in me that I do it, the harder it will be to finance. And the longer it will earn money because people will be spending the next 50 years trying to think: What’s really in Megalopolis? What is he saying? My God, what does that mean when that happens?”

Still, the situation feels like déjà vu to the director. “Do you know why I own Apocalypse Now? Because no one else wanted it,” he says. As for casting? Oscar Isaac and Zendaya are just two of the stars Coppola is eyeing.

You can read Coppola’s full GQ interview here.

For the fourth straight year, J Balvin graced his fan base with a project to enjoy in 2021. The Latin singer released his sixth album Jose last summer and it arrived with features from Skrillex, Tokischa, Ozuna, Myke Towers, Yandel, Dua Lipa, Khalid, Bad Bunny, and more across 24 songs. It continued a streak of releases that includes 2020’s Colores, 2019’s Oasis with Bad Bunny, and 2018’s Vibras. As for what J Balvin has in store for 2022, that remains to be seen, but he gets things rolling with his new single “Nino Sonador.”

His new track arrives with a new video that shows off the intimate side of his artistry. J Balvin also includes footage of his family and friends in the new visual. The video for “Nino Sonador” arrives after J Balvin released a deluxe reissue of Jose. The updated added eight new tracks to the album, four of which were remixes of “In Da Ghetto” which the remaining four being a remix of “F40” and three new songs.

J Balvin’s new single also comes after he shared a video for “Una Nota” with Sech. He was also recently announced as a headliner for Chicago’s Sueños Festival which features an all-Latinx lineup.

You can watch the video for “Nino Sonador” above.

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

Pusha T has been signed to GOOD Music since 2010, shortly before the release of Kanye West’s fifth album My Beautiful Dark Twisted Fantasy where he appeared on two tracks: “So Appalled” and “Runaway.” During his time with GOOD Music, Pusha T has released three albums: My Name Is My Name, King Push – Darkest Before Dawn: The Prelude, and Daytona. Pusha will also release his upcoming fourth album, rumored to be titled It’s Not Dry Yet, on the label, but before that happens, he revealed a special thing that Kanye did for him.

During an interview with Complex’s Speedy Morman, Pusha T revealed the purpose of the contract between him and Kanye that he shared on Instagram last month. “Actually, the contract was just [Kanye] signing over my profits from my back-catalog and the profits for this album as well,” Pusha said. “Just straight to me. It wasn’t anything bad… He was just like, ‘Nah, you take the money.’ If that don’t show you that that’s your bro, I don’t know what else gon’ show you… It was very honorable.”

The interview came as Pusha prepares to release his fourth solo album It’s Not Dry Yet. So far, we’ve only received the project’s lead single, “Diet Coke.” The song was released with a music video that featured Kanye West who produced the track with 88-Keys.

You can view the contract and watch Pusha T speak about it in the posts above.

Charli XCX didn’t keep us waiting for very long. Just yesterday, she told Rolling Stone that she was bumming out over her cancelled performance in late 2021 amid the Omicron variant surge. “This would have been my best TV performance ever,” she said. “When it couldn’t go ahead, it was crushing. I was going to have a main pop-girl moment. Hopefully something can happen in the future. Fingers crossed.”

Today, she has been announced as the musical guest for the March 5th episode hosted by Oscar Isaac. That was fast! And the timing couldn’t be more perfect, as her hotly-anticipated album, “Crash,” is set to drop two weeks later. With killer early singles like the banging “Good Ones” and the incredible collaboration with Rina Sawayama, “Beg For You,” the prospects are bright for her performance.

Also announced today, Spanish flamenco-pop queen Rosalía will be the musical guest for the March 12th episode hosted by Zöe Kravitz. Rosalia’s upcoming album Motomami arrives on the same March 18th date that Charli XCX’s does and it’s a really strong back-to-back episode slate of musical guests for SNL especially when you consider that LCD Soundsystem are the musical guests for the February 26th episode hosted by John Mulaney.

Charli XCX is a Warner Music Artist. Uproxx is an independent subsidiary of Warner Music Group.

It’s fairly incredible how open Nick Cannon is about his sex life. The father of seven children with four different women has an eighth on the way with a fifth. He’s been speaking publicly with family therapist Dr. Laura Berman, both on The Nick Cannon show and recently on her podcast called The Language of Love With Dr. Laura Berman. In a “Valentine’s Day episode” that aired yesterday, Cannon opened up about his previous stance of celibacy, which led into him speaking about monogamy and how he doesn’t think it’s “healthy” for him.

The Masked Singer and Wild N’ Out star began talking about definitions of being single versus being married. “To define me is to confine me,” he says. They talk about forming covenants, whether bound by the government or not, at which point Cannon says “And I just don’t feel like that’s healthy. Monogamy is not healthy. I feel like that gets into the space of selfishness and ownership.” Berman validates him, before Cannon admits that he feels like his trajectory in life is to “be the best father I can be,” and as he gets older, “whoever is willing to put up with me” is who he’ll end up with and maybe be monogamous with.

Berman posits that perhaps his fear of being left or discarded is contributing to his fear of monogamy. And it’s really fascinating for someone who is so virile and is such a well-known public figure like Cannon, to make themselves this much of an open book when it comes to their sex therapy.

You can listen to the whole episode of the podcast here.

This poster for Dog is one of those posters so perfect that I almost don’t want the movie to exist. There’s no way an actual film could be as good as the one this poster already conjured in my head.

Yet Dog does exist, marking the directorial debut of star Channing Tatum (long known affectionately as “C-Tates” around these parts), who co-directs and co-writes alongside his long-time producing partner Reid Carolin. They’re adapting from a story by Carolin and Tatum’s former assistant, Brett Rodriguez, who is also an ex-soldier. The three had previously collaborated on a documentary for HBO called War Dog: A Soldier’s Best Friend, focusing specifically on Army Rangers and their dogs. Thus what we have in Dog is, essentially, Turner And Hooch, only Turner is a troop. And so is Hooch.

Tatum plays Jackson Briggs, an Army Ranger discharged with a TBI (Traumatic Brain Injury) whose dream job in diplomatic security requires a recommendation from his commanding officer. But the CO (Luke Forbes) only agrees to do give it on one condition: that Briggs transport a “disturbed” Ranger dog named Lulu back to Nogales, AZ for the funeral of her former handler, a Ranger named Riley Rodriguez. Translation? ROAD TRIP MOVIE!

As a dog man, an avid C-Tates booster, and someone who has raised and loved multiple German Shepherds in my life (close cousins to the Belgian Malinois featured in the film) my sense that I was probably the ideal audience for this film was confirmed when I cried during the opening credits. Dog‘s intro sequence is a montage taken from Lulu’s “I Love Me Book,” a scrapbook of military paperwork and mementos, which in Lulu’s case includes drawings and poems written by her dead owner, pictures and videos of Lulu in action — Lulu passing soldier tests, Lulu nuzzling her soldier brothers, Lulu getting treated for war wounds, etc… Christ, it’s hard to even write about, a series of HERO DOG SAVES ORPHANAGE headlines intercut with a sweet doggie limping around in a cast. We are all susceptible to certain forms of emotional manipulation, and sad doggies could sell me the Brooklyn Bridge.

Yet for a concept that feels so self-propelling, probably the biggest surprise of Dog is that it’s not nearly as Disney as you might expect. I anticipated something akin to A Dolphin’s Tale, another movie about a wounded animal inspiring wounded veterans, featuring Marine Biologist Harry Connick Jr. (I take every opportunity I can to type the words “Marine Biologist Harry Connick Jr.,” which is my personal “cellar door“). Tatum and Carolin, by contrast, seem far more concerned with doing right by their military consultants, retaining the particular camaraderie shared by military men than they do with making a family-friendly tear-jerker. So when Briggs and his military pals discuss their fallen comrade, they do so not in the weepy, reverent tones years of war propaganda have conditioned us to expect, but in the understated, gallows humor patois of soldier bros. “Riley was as solid as they come,” Briggs tells a buddy.

“Yeah, tell that to the tree he hit doing 120,” the buddy responds, a verbal sack tap for getting too mushy.

Likewise, Dog studiously resists making Briggs too “cuddly,” clearly determined to remain authentic to what it believes a Ranger veteran with a TBI might actually be like. True, Tom Hanks’s character in Turner and Hooch similarly began the movie as a squared away cop who didn’t particularly like dogs, thus leaving room for his transition into hopelessly doting dog dad (and room to fulfill the “dad who loudly resisted getting a dog” stereotype). But Tatum seems determined never to let us forget that Briggs is a War Man who has Seen Some Shit; a guy who casually reminisces with Lulu about “kickin’ in doors and gettin’ our murder on.” I don’t remember Marine Biologist Harry Connick Jr. ever describing himself as a murderer.

Hanks and C-Tates both have a natural lovableness that frequently transcends whatever was on the page. Yet there’s a natural disdain, among the characters Dog depicts, for civilian society — blissfully ignorant of the details of their dirty work that the soldiers have had to do. It’s a natural disconnect, but one that always risks becoming a political football. And so a constant tension exists in Dog, between wanting to appeal to the military guys who inspired and helped make it, and maybe even go full Black Rifle Coffee Company/operator culture propaganda op; and its natural shape as a heartwarming buddy-dog movie.

Which is to say that Dog frequently risks “getting political,” like when Briggs and Lulu pass through Portland, here populated by women who are all varying degrees of “liberal loonies,” (Dog doesn’t use the phrase but it’s heavily implied), or when Lulu freaks out at a San Francisco hotel and nearly attacks a Muslim man. “I’m sorry, she’s been trained to go after people like you,” Briggs attempts to explain.

That’s pretty dark! I admit I cringed, and that part of me just wanted to see a nice movie about a whole town coming together to nurse a disturbed doggy back to health. But maybe a society that spends 20 years doing war doesn’t deserve sanitized soldier dog movies. Dog won’t give it to us, which is admirable. Though neither is it some Peter Berg tac ops circle jerk, even though sometimes it almost is.

Dog attempts and mostly does a solid job walking a perilous line, being honest about and sympathetic to the concerns and inside jokes of veterans without licking boots or justifying endless war. Ethan Suplee shows up late in the film as a fellow veteran and dog whisperer, and it’s almost disturbing the degree to which a former pussy posse member can not only believably play an ex-soldier but function as the film’s moral center. Suplee’s character urges Briggs to find a higher power, AA talk here applied to PTSD. Part of me wishes it had been Lulu delivering the life lessons (this is a dog movie after all), but Suplee was oddly solid.

Could Dog have been more about the actual dog? Sure, but no movie was ever going to top the poster. And in the end, it’s hard not to appreciate a tight 90 about C-Tates and a dog learning to love again.

‘Dog’ is available only in theaters February 18th. Vince Mancini is on Twitter. You can access his archive of reviews here.

Adam Scott is no stranger to workplace comedy. In fact, he’s been the lynchpin of some of the best shows in that genre for the last few decades — see Parks and Rec, Party Down, etc. But with Severance, the new thriller from Apple TV+ directed by Ben Stiller and created by Dan Erickson, Scott’s pushing out of his comfort zone – even if he does still find himself in a cubicle.

As Mark, a grieving widower who chooses to undergo the process of Severance – a procedure that splits a person’s consciousness – Scott essentially plays two versions of the same character. In the outside world, Mark is depressed, lonely, and a pretty awkward dinner party guest. Within the walls of Lumon — the mysterious company he works for that encourages its employees to undergo Severance so that they can fully separate their work life from their personal life — he’s naïve, upbeat, and perfectly content with the idea that his body lives an entirely different life outside the workplace but his mind will be forever trapped in a dimly-lit office space. Until that is, a new hire arrives that shakes up the monotony, sending Mark and his coworkers on a wild goose chase that reveals some sinister truths about the people they work for.

UPROXX chatted with Scott about the show’s central mystery, if he would ever undergo something like Severance, and how the show helped him process his own grief over the recent death of his mom.

I’m struggling to define what this show is. Is it a workplace comedy? A Hitchcockian thriller in an office setting? Help me out here.

Yeah, it has this fun workplace comedy surface to it when it starts. It really is genuinely funny, but there is something weird and sinister lurking underneath that sort of finds its way out. And that’s what really interested me — that it worked as something fun to watch, but also that the world it’s in and the big conceit of the show is so kind of sticky and mind bendy. It’s exactly the kind of thing that I like watching as an audience member. But beyond all of that, the role itself is sort of the dream role that I felt like I’d been waiting my whole career for in a way. I finally had an opportunity to dig into something like this. I was really excited to do it. I’m still excited that I got to do it.

You’re essentially playing two versions of the same character. How did you separate Outie Mark and Innie Mark?

Yeah, it was really challenging. We didn’t want it to feel like two different people because it’s not. It needs to be the same guy, right? It needs to feel like the same person, but it just needs to feel like different halves of the same person. So it’s a matter of figuring out who Mark is in the outside world and just maybe subtracting from that and starting over in a sense with the basic elements. In the outside world, he has 40 odd years of life experience and all the joy and sorrow and everything that goes along with that. He’s grieving his wife who died two and a half years ago and he has not moved on from it. And rather than figuring out how to move on from it, he’s decided to stay put and just disappear for eight to 10 hours a day.

Innie Mark is unencumbered with all of that. There are feelings and emotions that sort of carryover, but Innie Mark doesn’t know what those are, how to locate or name them. He just knows there are feelings in there and sometimes he gets to work, and he has tears in his eyes and just has no idea. So it was a constant game of addition and subtraction because we were shooting the whole season at once and jumping around all the time. It was almost like this math problem we were constantly doing throughout — trying to figure out how those different life experiences manifest themselves. One’s experiences may be affecting the other because things do carry over — not consciously of course — but they’re sharing a body. Of course, there are going to be things that go back and forth.

Is there a job – acting or otherwise – that you would have liked to have undergone Severance for?

[laughs] I feel like when I was like in my twenties, maybe I would’ve gotten severed just because it sounds cool and it would’ve been an experience. Maybe now I would do it for like sitting in traffic or something. Apparently, Elon Musk has been talking about a similar technology recently. I just don’t think I would do it, but I guess it kind of depends on who’s doing it and why, which is the big question here. It’s interesting because I think for the past several years, big companies have really become intertwined in our lives. We’ve kind of been co-opted and are a part of these companies in a way.

That can’t be a good thing though, right? There are definitely cult-like undertones at Lumen that make me think of places like WeWork and companies that trade on this idea of the workplace as a “family” in order to take advantage of their workers.

That’s right. And this company, Lumon, has the added advantage of having been around since, what, the 19th century or something? They have these deep roots in America and a whole culture that they’ve been cultivating and creating for over a hundred years, to the point where they’re just sort of ubiquitous. They’re one of those companies that make your breakfast cereal and your air conditioner and you don’t even realize it unless you really look. I think that could be dangerous — when companies sort of start to put themselves out there as a lifestyle and a theory of living.

There’s a central mystery to the show that pulls you along each episode. Why was that an important element to add to the story?

Those are the kinds of things I really love as a viewer, these kinds of core mysteries. I love Lost so much and re-watched it with my family last year and it’s just perfect. The show is just unbelievably good. But I think the big sort of central mystery to this world is, ‘Why is Lumon so interested in doing this? What’s in it for them? Why is it better for them to have workers who don’t know who they are in the outside world and people in the outside world don’t know what they’re doing when they’re there? Why is that?’ I think the mysteries sort of emerge and go from there. And there are many that kind of bubble up over the season that are really fun to think about.

I’m going to continue my trend of recommending Yellowjackets to everyone I meet, especially if you’re a Lost fan.

Oh yeah! Yellowjackets is just really fun. I’m in the middle of it right now.

I’m trying to pay attention to shows’ opening credits more and Severance has a really weird opening sequence. It feels like a nod to Ben Wyatt’s Claymation bit on Parks and Rec, just much darker. Did you plan that?

[laughs] Totally. It’s just a Ben Wyatt claymation nightmare. [laughs] That’s great. That’s so, so funny. Yeah. Ben Stiller was working on it for the better part of a year with this guy that he found on Instagram and I just went one day for like 20 minutes and stood in one of those volumes, which is just surrounded by thousands of cameras. I just stood there and struck a couple of different positions with a hairnet on. And that was all I had to do, but I love the end result. It being me, notwithstanding, I think it’s just a really cool piece of animation and, and a little piece of filmmaking in and of itself. It’s very weird.

Do you have more of those deja-vu moments with a character like Ben Wyatt who’s so culturally recognized at this point? Do you get sick of talking about him?

I do find myself, if I’m getting ready to do something and we’re figuring out wardrobe, I try and avoid a plaid shirt with a tie because it’ll remind me of Ben Wyatt and I think it might be distracting if there’s a Parks fan watching. Maybe that’s overthinking it, but yeah, there are things here and there. Working on Severance with the workplace sort of banter did remind me of that world. And there’s nothing wrong with it because I love Parks so much and I miss all of those people so much and anything to sort of drum up those feelings again is all good with me.

What’s even more compelling to me than the work-life balance question is the lengths Mark is willing to go to sidestep his grief. He’s a very sad human being when we meet him on the outside. Was that emotional arc hard to play within the stranger environment of the show?

Yeah, I mean, I was going through my own grief when we ended up making the show and was away from my family. I landed in New York and my mom had passed away six months before. And I had been surrounded by my kids and family and stuff for those six months and then I was just … in New York, by myself. I was either in an apartment alone or shooting the show. And it was when I was alone with the work that I realized I still had a hell of a lot of grieving to do that I hadn’t really come to terms with it because I was kind of buoyed by all of this love and support … [Pauses] There was a lot that I could sort of stave off because of that. So I found myself really coming to terms with it and really facing the grief through the show. You know?

I read something about how grief is like this hole that never gets smaller. Your life just gets bigger around it, and over time, that makes it seem a little bit smaller. But if you’re doing something like Mark is doing, your life never grows.

That’s right. That’s the choice he’s made — that this is all he has left of his wife. So he doesn’t want to let go of it.

There’s no good way to pivot here so I’ll just ask: Where are we with the Party Down reunion and why did you guys want to come back?

[laughs] Well we only made 20 episodes total so I feel like there still was a lot of possibilities sort of left on the table. And now that it’s been 12 years since we finished shooting, there are even more possibilities because the intervening years … it just gives you all of these story possibilities that John Enbom is taking full advantage of. And, and the big kind of idea and thrust of this season is so much fun. It is going to be great and I just can’t wait for everybody to see it.

As the saying goes, “sticks and stones may break my bones, but words will never hurt me.” Science has proven, on multiple fronts, that this is not the case. And psychology aside, our hearts know just how much leverage both an insult and a compliment can carry. Just think of how your body reacts when remembering the very best thing anyone has ever said about you … and the worst.

Though that saying might be less than accurate, the phrase “a picture’s worth a thousand words” certainly still holds up, especially when it comes to the work of Thai artist Tim Ulit.

Ulit’s comics have captured hearts on Instagram, for both their sweet illustrative style and their powerful, sometimes heavy messages.

His latest strip delivers a thought-provoking and intimate look depicting just how much what we say, for good or for ill, matters.

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When used in anger, our words become weapons.

As seen (quite literally) with a couple arguing, insults become swords. Accusations become axes. Instead of practicing nonviolent communication, which focuses on authentically expressing emotions without insults, judgment, or put-downs, the couple use their words to further drive an emotional wedge between them.

And perhaps worst of all, though the husband and wife are intending to attack each other, their son, who hears it all, becomes caught in the crossfire of their unkempt rage.

There’s a reason why words of affirmation are part of the five love languages. As seen here, with the affectionate father visibly praising his son’s monster creation.

Having this kind of emotional fortitude later helps the son’s confidence become impenetrable, even when schoolmates (and the teacher) make fun of his monster. Which is, of course, totally inappropriate, but also inaccurate, because that little monster is so cute!

Words wound us. But wounds can heal with kindness.

When the kids meet, the son from the previous vignette, who saw his parents fighting, is still carrying the burden of hurtful words.

Clearly not from only his parents fight, but from bullying as well.

Yet with the help of his new friend, he learns that those thoughts don’t have to be carried.

The comic cuts to 15 years later, where the monster-creating kid is now a debuting artist, who comes face to face with one of his idols. In an esteem-crushing blow, the idol criticizes the artist’s work (a pain worse than death for most creatives).

The harsh judgment blasts like a torpedo straight to the artist’s heart, completely trapping him in his own disappointment.

That is, until his friend comes in to return the favor, and save the day with kindness. This time, encouragement acts like a key, rather than a shield, but still just as effective.

Words can lift us up or knock us down in one breath. Having distance through technology doesn’t change that, ask anyone who’s been trolled or cyberbullied. It’s easier now more than ever to be unkind without consequences online, but let’s remember that what we say does matter. The choice to be kind is always there. And if there is so much power contained in the words we use, let’s make that power a force for good.

A bunch of years ago, our family traveled around the United States as nomads for a year, driving thousands of miles through dozens of states. And throughout the entirety of that kind of epic road trip, I never once learned that there’s a system for how our highways are numbered. It always seemed random, but it’s so very not.

A viral Facebook post sharing just two basic principles of interstate highway numbering blew my mind, and also the minds of approximately 196,000 other people who shared the post in the past few days. Rich Evans included two images showing the East-West interstate highways and the North-South interstate highways with this explanation:

“I always knew there was a logic to it, but I never saw it explained so well until I stumbled upon this delightfully informative short video on how the US interstates are numbered.

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Those with 2-digits traverse the entire country.

If they end in “0” they run East-West (10, 20, 30, ..)

If they end in “5” they run North-South (5, 15, 25, ..)

Those with 3-digits are bypasses and contain the last 2 digits of the interstates they bypass.

That’s it! (plus exceptions ) Neat!”

It is neat, actually. But it’s even a bit more complex than that, and the video link Evans shared explains it all in a clear (usually) and funny way. “The Interstate’s Forgotten Code” from CGP Grey uses animation to show that the numbering system does indeed have a rhyme and reason, despite there being a few notable exceptions. (A highway system would be boring if it always followed the rules, wouldn’t it?)

Enjoy learning something new if you didn’t already know this: