While you might think all of your friends are powering through Bridgerton season 2 or the new hit competition series Is It Cake? (really), the reality is that everybody is watching anime right now.
Last week, during the AnimeJapan contention in Tokyo, Netflix revealed it would launch 40 new anime titles this year alone. That’s a new title every week for the rest of the year, by the way. The Hollywood Reporter sat down with producer Kohei Obara, who oversees all of Netflix’s anime acquisitions.
According to Obara, Netflix users are devouring all of the anime titles on the streaming service:
The popularity of anime has been rising quite a bit in recent years. Anime has been big here in Japan for over seven or eight decades, ever since Osamu Tezuka created the first anime title. But in recent years, its popularity has been growing a lot internationally. At Netflix, more than well over half of our subscribers globally have watched anime in the past year, which is an incredible number. In Japan, at least 90 percent of our subscribers have been watching anime. In Japan, it’s always been very big, but the popularity has been rising on a global basis quite a lot as well.
When asked about what exactly caused the boost in popularity, Obara says it’s because of the wide range of genres. “We’re trying to diversify the programming by getting into, say, lean-back content, romantic dramas, and things that are different from what we’ve usually been pursuing.” Netflix’s most popular anime shows at the moment include the dark fantasy series Devilman Crybaby and the comedy series The Way Of The Househusband.
“The way anime titles resonate is quite diverse and unique in a way, where you never know what will hit. But that’s sort of how we feel about anime’s capacity and potential on the service right now — that any show could actually become a global hit,” Obara says.
Instead of looking to just make viral hits, Obara says they want to actually listen to what the viewers want to watch, so they will keep coming back for more. “We’re not just trying to snatch up the best shows out there with a chunk of cash. We’re trying to establish really warm and organic relationships with studios, artists and creators. Of course, we want to come up with the best titles, but we want to do it in a healthy, well-paced manner that will help the industry grow and stay sustainable”
If you’re looking to be ahead of the curve in terms of the Next Big Thing, maybe you should check out the anime section of Netflix after you’re done watching all of the many true-crime docuseries the service has to offer.
Kanye West has reportedly pulled out of his headlining Coachella set. According to TMZ and Variety, West decided to drop out of the festival at the last minute, with few details offered as to why. However, the last few months have made it pretty plain that Kanye’s been going through a lot; his divorce with Kim Kardashian was finalized as he sort of imploded on Instagram, lashing out at Kim’s new beau Pete Davidson, as well as anyone who publicly criticized his erratic behavior.
It could also be the result of Billie Eilish refusing to apologize to Travis Scott, who Kanye said would be joining him onstage at the festival. Eilish stopped a recent concert to ensure a fallen fan received medical aid; fans interpreted her comments during the incident as sniping at Travis Scott, who reportedly continued performing during his headlining Astroworld set as more than 300 people were injured during a crowd crush. 10 people died, sending Travis into a state of quasi-exile after he was removed as a Coachella headliner. Kanye’s set would have been Travis’ first time on a major stage since Astroworld. Kanye threatened to pull both himself and Travis unless Eilish apologized to Travis, drawing disapproval from some Astroworld victims’ families.
Incidentally, this isn’t even the first time Kanye has pulled out of headlining Coachella; in January 2019, he declined to headline the festival over a dispute regarding an unfeasible stage design. Instead, performed on a nearby hilltop, bringing his Sunday Service choir and debuting “Water” at the second weekend of 2019’s festival. This year, a petition on Change.org to have Kanye removed from Coachella over his bullying behavior received almost 30,000 signatures.
Meanwhile, Page Six reported that Kanye said he was “going away to get help,” which could also explain his last-minute withdrawal from performing. As he attacked Pete, Kim, and comedians like DL Hughley and Trevor Noah on social media, some fans worried about his mental health. If it’s true that he’s taking a break to get well, we can only wish him the absolute best.
Is it unfiltered talking head interviews from an artist’s inner circle, narrating their rise to fame and filling in the gaps with unheard tales of tragedy and triumph? Is it hundreds of hours’ worth of archival footage that transports fans back to the tour buses and motels and the chaotic marathon of on-the-road, small-town gigs? Is it the artist themselves taking control of the camera to give us a more intimate, insightful look into their creative process — the highs, the lows, the sacrifices, and the perks of fame?
Is it a combination of all of these?
Whatever that magical “it” factor is, all of the docs on this list — from tranquil recording sessions to cinematic road trip movies to dramatic reenactments to reels of film that have been hidden away for decades — have it in some form or other.
There’s a kind of mythos surrounding The Beatles, their meteoric rise, and their complicated break-up. Much of that is fueled by the untimely death of their founding member, John Lennon, but more still stems from the group’s prolific lyrical output — something that’s on full display in Peter Jackson’s biographical epic, Get Back. The three-part six-hour-long documentary is a musical odyssey, one that peels back the veneer of nostalgia and gives us a raw, moving, and at times unbearably intimate look at the four lads whose influence is still being felt, decades after their initial peak of stardom. Subdued and unstructured but made with purpose, the series gives us a glimpse of these figures with episodes of genius on full display — like when Paul riffs on his bass and produces one of the band’s biggest hits in just a few minutes. The best moments come when we get an unedited look at the strife, tension, and profound connection these musical icons shared, though.
Billie Eilish: Happier Than Ever, A Love Letter to Los Angeles (2021)
Run Time: 65 min
Billie Eilish has had a prodigious career. That’s not hyperbole, it’s simply a fact. She’s ticked off everything from Grammy wins and Oscars trophies to headlining the world’s major music festivals and being interesting enough that not one, but two documentaries have attempted to distill her star power to something us mere mortals can understand. In this doc, which stands as Billie’s love letter to her hometown, director Robert Rodriguez throws animation into the mix, creating a kind of hybrid doc/album concept film that’s both beautifully straightforward and deceptively insightful.
Go all the way back to the consequential summer of 1969 as Roots crew drummer Ahmir “Questlove” Thompson brings the incomparable Harlem Cultural Festival to life with his Oscar-winning Summer Of Soul. Filled with a collection of performances from iconic musicians like Stevie Wonder and Gladys Knight, this doc doubly rewards viewers by diving into the intersection between current events and music, showcasing the power of music and an event that has been shockingly under-remembered until now.
The only female artist who’s had a bigger breakout than Billie Eilish is this Disney star whose catchy-as-hell breakup track, Driver’s License catapulted her to the top of the charts during a pandemic that had us all feeling a little blue. This doc shares some of the same qualities that made that song, and its accompanying music video, such a hit. There’s a barren feeling to all of the deserts and flatlands Rodrigo drives through while on her way from the recording studio where she created her debut album Sour, back home to California. There’s also a vintage, grainy filter imposed on all of the vistas she stops at along the way, performing some of the album’s biggest hits to intimate crowds and fan gatherings. It’s a vibe – and a worthy entry into the music doc space from an artist who’s just getting started.
Of the two stellar albums Taylor Swift dropped in 2020, Folklore was the one with the least fanfare surrounding it — a record Swift quietly unveiled that guided fans even deeper into the fantasy-like wood she’d escaped to during quarantine. And with this doc — an intimate, no-frills recording session in a rustic cabin by a lake, somewhere north of New York City – Swift doubles down on this new era of her career she’s knowingly entered into. This is a doc about Taylor Swift, the songwriter – not the pop star or tabloid target. Stripped down and raw, the doc merges some home videos of Swift recording the album years earlier with frequent collaborator Jack Antonoff and newcomer (to the Swift scene) Aaron Dessner with live performances from Swift, held in between chats that dive deep into her musical knowledge and her artistic process. It’s illuminating in the best way and Swift has never been better.
Before Lin Manuel-Miranda was creating Oscar-nominated bops for Disney flicks and winning Peabody awards for history-making Broadway musicals, he was just a guy on a street corner in the Heights, freestyling with his friends. This doc, which leans heavily on archival footage of Miranda and fellow Freestyle Supreme members like Thomas Kail, Christopher Jackson, and others, charts the rise of the group whose on-stage trick is to take audience suggestions and turn them into feature-length raps and bops and skits for our entertainment. There’s some incredible talent on display here as we see the group perform at fringe fests and basement cellars, but somehow, knowing the success each of these guys will one day find makes viewing their humble beginning even more exciting.
In 1972, Aretha Franklin gave a two-night performance of some of her biggest hits in a crowded Baptist church. Decades later, we finally get that footage. Filmed by Sydney Pollock, this is Aretha Franklin before people universally recognized her as an icon. Her voice is unparalleled, her energy infectious, her talent obvious, but this doc shows the synergy between her religious upbringing and the music she would bring to the world. It might just move you to tears.
Of the two Blackpink docs circulating the streaming world, this Hulu entry highlights the girl group’s undeniable stage presence, weaving concert footage from their most recent internet-breaking performance, “The Show” with older clips from when they were just beginning their reign as the queens of KPop. There’s a bit of commentary from the women as they reflect on their bond and how they’ve gotten this far, but the strongest moments are when fans get to watch them in their element, killing intricately choreographed numbers and serving up some of the best live shows we’ve seen yet.
The most fascinating music docs tell the stories of stars before they became them. Plenty of entries on this list fit the bill, but none do it like this hybrid film that mixes archival footage and glimpses of Madonna’s old stomping grounds in Detroit with dramatic reenactments of the artist’s earliest days in New York. The journey is gripping, from mourning her mother and hoping to escape the dreariness of her hometown, to hitting the scene in Queens during a musical rebirth when fashion and art, and street culture were colliding to form a creative environment unique enough to turn a talented former dancer into a pop music behemoth.
Music fans have likely heard the name Frank Zappa, but few truly understand just how unique and idiosyncratic his career truly was. This doc aims to rectify that, combing through hundreds of hours of archival footage supplied by Zappa’s estate to paint a picture of the sometimes-acclaimed, sometimes-controversial musician that we simply haven’t seen before. From his early beginnings worshipping the musical oddities to spoofing hit Beatles records to fighting American censorship, Zappa was an individual in every sense of the word, which makes charting his musical journey all the more interesting.
Quinton Brock is on a lifelong mission to change rock music forever, making progress with catchy anthems like “To The Moon” and endearing ballads such as “Touch.” In February, he unveiled the surfy “There For You,” which is first and foremost concerned about its playful atmosphere and vibe. The riffs are simple but fun and exuberant, buoying the song along as he sings, “I’m just making sure you know / that I’m there for you / if you’re down and need rescue.”
The song focuses on this feeling of togetherness and trust in the face of struggle. Today, the Brooklyn-via-Buffalo artist released the music video to go along with it. It’s as laid-back as the music is — Brock strums on his blue Fender, dances, lies on the ground — it’s intimate and home video-like, imbuing it with a sense of nostalgia.
Nostalgia is one of the driving forces of Brock’s whole aesthetic. In 2020, he told Uproxx that when he thinks “of rock music, I think of Converse, the Ramones, Julian Casablancas — all these great artists […] I really wanted to make sure that everyone knows that was the shoe that was chosen, that classic Black converse.” By bringing back old styles and blending them with new elements, Brock is achieving something intriguing and original.
Get ready for another breakup-album era from Jaskier because Netflix showed off a look at The Witcher Season 3 production, and the infamous Bard is nowhere in sight. Yep, it’s true. The streaming service thoughtfully provided an update on the title curmudgeon, Geralt of Rivia, who’s apparently doing his thing with both Ciri and Yennefer, yet their only company seems to be a tiny horse that ain’t Roach.
To add further insult to Bard injury, Netflix wrote, “Our family is back together again.”
There’s also no Jaskier love coming forth from the official Netflix season synopsis:
“As monarchs, mages, and beasts of the Continent compete to capture her, Geralt takes Ciri of Cintra into hiding, determined to protect his newly-reunited family against those who threaten to destroy it. Entrusted with Ciri’s magical training, Yennefer leads them to the protected fortress of Aretuza, where she hopes to discover more about the girl’s untapped powers; instead, they discover they’ve landed in a battle field of political corruption, dark magic, and treachery. They must fight back, put everything on the line — or risk losing each other forever.”
Sigh, we’re all going to pay for this by having another banger stuck in our heads. Yet we can all likely trust that the story has been crafted in the way that’s ultimately best for fans of the video games and books. The show overperformed in the first season and, during the sophomore round, convincingly switched up the loner aspect of everyone’s favorite monster hunter. Speaking of which, after that gut punch of a Roach episode last season, Cavill himself provided an important horsey update on Instagram.
“Reunited with my equine friend Hector today,” Cavill wrote. “After a good ride out through the mountains, Hector showed off some of his new rearing skills. He’s showing some promise.”
Roach lives! Well, one of many Roaches. In all likelihood, The Witcher will keep ’em coming.
The Grammys are all about celebrating the best and brightest in music, but in another sense, it’s about picking winners… and therefore losers (or non-winners if you want to soften the blow of that descriptor). While there’s a general formula to an awards show like this, there’s always room for the unexpected to happen, whether that’s an award win nobody saw coming (those definitely happened at last night’s 2022 ceremony) or an especially noteworthy performance (ditto).
When it comes to winners, losers, and surprises, some stand out more than others, so let’s run through some of the evening’s biggest figures and moments in those three categories. (Also, in case you missed it, check out the full list of last night’s winners here.)
Winner: Jon Batiste
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The Late Show bandleader’s run as one of the biggest winners of the 2022 Grammys actually started in 2021, when it was revealed he had racked up an amazing 11 nominations. Batiste’s nominations in R&B, jazz, American roots, soundtrack, contemporary classical, and visual categories tied him for the second-most Grammy nominations in a single year, with Kendrick Lamar’s 11 in 2016 and behind Michael Jackson and Babyface’s 12 in 1984 and 1997, respectively. Even if Batiste ended up not winning a single one of those awards, what he achieved still would have been phenomenal. With as many chances as Batiste had, though, he of course managed to pick up at least a couple trophies: Before the actual ceremony even started, he won four Grammys.
Of course, he also put on perhaps the evening’s most dynamic, feel-good, and exciting performance with “Freedom.” But wait, there’s more…
I don’t think Batiste would even take exception to me saying that: In the moment his victory was announced, nobody in the room showed more visible confusion than Batiste, who held a perplexed expression and uncertain shrug for a good ten seconds before making his way to the stage. Feigning shock is a common reaction to winning a major award like that, but if he wasn’t as genuinely dumbfounded as he looked, he should get an Oscar, too.
The Grammys are not meant to be a popularity contest, so the Recording Academy says, but rather, the aim is to honor the best in music. That said, if We Are truly was the best album of the past year, few people were aware of it; We Are was nominated against works by Tony Bennett and Lady Gaga, Justin Bieber, Doja Cat, Billie Eilish, HER, Lil Nas X, Olivia Rodrigo, Taylor Swift, and Kanye West, and Batiste’s LP is really the only nominated work that wasn’t a part of the mainstream pop culture conversation when it was released.
Loser: Billie Eilish
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Billie Eilish had an unbelievable first year at the Grammys in 2020, when she swept the four major categories and ended up winning five of her six total nominations. Converting at that high of a rate was an aberration, though, and since then, there’s been a clear regression toward the mean, especially after last night.
At the 2021 Grammys, she still did well, winning two of the four awards for which she was nominated. This year, though, things were different. Eilish was one of 2022’s most-nominated artists, with seven total nods (a personal best for her), including nominations in three of the four major categories (not Best New Artist for obvious reasons). When the night was over, Eilish didn’t have to worry about dropping any Grammys like Olivia Rodrigo did because she didn’t win a single one.
Overall, though, Eilish is still doing quite well over her Grammy career, as her lifetime total sits at 7 wins out of 17 nominations. She’s also probably not too upset about how yesterday went considering she put on one of the show’s most thrilling music performances and was seen smiling and having a heck of a time throughout the broadcast.
Surprise: Everything about Doja Cat and SZA’s acceptance speech
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Doja Cat and SZA picked up the Grammy for Best Pop Duo/Group Performance with “Kiss Me More,” and even before it started, their acceptance speech was an affair, no element of which could have been predicted. After the victory was announced, SZA struggled to walk to the stage as she contended with her crutches. Shortly after she made it up there, Doja came rushing in from another part of the venue. Doja, out of breath and adjusting her clothing, declared, “I’ve never taken such a fast piss in my whole life.”
That bathroom sprint would have been enough to make this moment noteworthy, but almost immediately after she started speaking, she got so emotional that she could hardly keep it together as she expressed how important the award was to her. This carries extra weight given that she has in recent days insisted she plans on quitting the music industry. There was a lot going on here, but a takeaway to consider is that perhaps this recognition will make Doja consider sticking around the music biz. At the very least, it illustrates how meaningful her work is to her.
Olivia Rodrigo has been focusing primarily on music lately, which makes sense given that she’s become a global superstar over the past year. She apparently didn’t want us to forget that she’s also an actor by trade, so she went full thespian for a surprise appearance during BTS’ Grammy performance of “Butter.” BTS went super theatrical with their rendition, opening with basically a live-action spy movie, in which she flexed her emotional range, showing off happiness, shock, and intrigue in a matter of seconds. BTS’ shtick would have been fine without Rodrigo, sure, but her cameo was fun and the kind of small touch that pushes moments over the top.
Lil Nas X has come a long way since he was a potential one-hit-wonder with “Old Town Road,” which won him his first two Grammys back in 2020. He didn’t do so hot this year, though, as he earned five nominations (including three in the major categories) but didn’t win a single won, bringing his lifetime Grammys record to two wins out of 11 nominations.
Another way to look at it, though: If you’re of the school that it really is an honor just to be nominated, then Lil Nas X is one of the most decorated artists of the past few years. He also put on a pretty killer performance that’s sure to ruffle some feathers, a favorite Lil Nas X pastime. So, all in all, despite the losses, it was still a pretty good night for him.
Winner: Questlove
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Save for being a footnote in the most infamous pop culture moment of 2022 so far, Questlove has had himself a terrific week. Immediately after Will Smith went ahead and smacked Chris Rock on stage at the Academy Awards, Rock gathered himself and gave Questlove the Oscar for Best Documentary Feature, for Summer Of Soul (…Or, When The Revolution Could Not Be Televised). While that moment (which Quest made a quick joke about while presenting) was overshadowed by shenanigans, Questlove’s victory for Best Music Film wasn’t. His movie earned yet another major award, and this time, Questlove actually got to enjoy his deserved spotlight, distraction-free.
Surprise: Baby Keem
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Baby Keem is a capable rapper: His 2021 debut album The Melodic Blue was top-5 in the US and its standout single, the Kendrick Lamar-featuring “Family Ties,” was top-20 and platinum-certified. Now, with that said, if you list his name alongside Cardi B, J. Cole, Drake, and Megan Thee Stallion, which one of that group feels like the odd man out? Without a doubt, based on fame and success and no disrespect, it’s Keem.
So, some hip-hop fans certainly had at least one eyebrow raised when “Family Ties” won the Best Rap Performance Grammy over those aforementioned rap icons (although the Lamar bump surely helped). I’m not necessarily saying Keem isn’t deserving of the honor, more so just pointing this out: I tried finding the Vegas betting odds for the category and wasn’t successful, but I’d have to imagine Keem would have been in last. So, congrats on the upset, Keem.
Loser: J. Cole
Getty Image / Kevin Mazur
Over the years, J. Cole has had an up-and-down relationship with the Grammys: Up in the sense that he’s earned an impressive 16 nominations since his first (for Best New Artist) in 2012, but down in the sense that he’s only managed to win one: Best Rap Song for “A Lot” in 2020. That includes last night, where his luck didn’t change: He was up for Best Rap Performance, Best Melodic Rap Performance, Best Rap Song, and Best Rap Album but lost to Baby Keem, Kanye West, Kanye West again, and Tyler The Creator, respectively. Given that The Off-Season was a well-received No. 1 album and Ye isn’t in what most people would consider the peak of his music career, those losses especially have to sting.
Winner: Taylor Hawkins
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The Foo Fighters drummer had a big night at this year’s ceremony, but as the music world knows by now, sadly, he was not able to enjoy it himself after his recent death. In the days leading up to the big night, the Recording Academy said they were working on some sort of way to honor Hawkins and his presence was certainly felt. He got a nice video tribute separate from the in memoriam segment, replacing Foo Fighters’ canceled performance slot. He also got a major shout-out from Billie Eilish, who wore a shirt with his face on it during her show-stopping performance of “Happier Than Ever.”
On top of that, Foo Fighters won a few Grammys, giving Hawkins some posthumous awards: Best Rock Album, Best Rock Song, and Best Rock Performance. While it is awful to have to say goodbye to one of the most beloved drummers of the past couple decades, last night was a fitting farewell.
Find the full list of this year’s Grammy nominees and winners here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Canadian pop star The Weeknd has probably heard every iteration of every possible joke about his stage name by this point. After all, when you name yourself something as common as a pair of days on a calendar, there’s bound to be a little confusion if the context isn’t set up just so. I mean, word processors were red-lining his name for something like a year after he initially debuted. So it makes sense that he’d want to change it up after a little over a decade, as he hinted recently on Twitter.
It seems he was at least partially prompted by his fans on Twitter, who have taken to addressing him by his first name, Abel. And while his government name, Abel Tesfaye, would be more than serviceable in the search engine optimization department, he joked that he wanted to take it even further, removing his last name entirely. “You guys are hilarious,” he wrote. ” I feel like i should change my stage name to ABEL at this point lol. Maybe pull a YE and just legally change my name to ABEL. no last name. Like Madonna or Cher or Prince.”
you guys are hilarious. i feel like i should change my stage name to ABEL at this point lol.
However, he didn’t seem completely sold on the idea, either. “I don’t know it seems like a lot,” he noted. He did get a vote of confidence from noted fantastic stage name bearer John Legend, though. “ABEL is dope,” said the crooner, prompting The Weeknd to reply, “I’m tempted…”
Let’s face it, though: If he does change his name to just Abel, it’ll almost certainly take a while to get the masses to connect the old identity with the new one. Even Prince had trouble getting people to accept “The Artist” during his rights war with Warner Bros. Records in the ’90s. On the other hand, Mr. Tesfaye has blossomed into a big enough star that he’s one of the few folks who might be able to get away with it. After all, he’s appeared in animation multiple times, most recently on The Simpsons, and his After Hours Tour with Doja Cat will play stadiums instead of arenas. He’s about as big as a star can get — maybe even mononymously so.
Many were hoping that the last, and arguably the most important, award at the Grammys — Album Of The Year — would be the moment that Billie Eilish would finally take home a trophy after not winning any of her other nominations. However, Jon Batiste won, looking visibly perplexed and turning to hug Eilish. This caused a flood of bewilderment and outrage on the Internet, having nothing to do with the quality of Batiste’s music; it’s just that his chances of winning were pretty low, considering he was in a category with world-dominating pop stars like Eilish, Olivia Rodrigo, and Taylor Swift. Eilish fans, in particular, though, were livid that Happier Than Ever, one of the biggest records of 2021, did not receive any recognition.
When the Grammys ended, Eilish’s brother and frequent collaborator Finneas took to Twitter for damage control. “We love silk sonic!!” he wrote. “We love Jon batiste!!! We love everyone who won tonight!! I don’t wanna see anyone talking any trash at ALL!! Nothing but love!! Talented musicians won tonight!! We were lucky to be nominated!! And lucky to perform!!”
We love silk sonic!! We love Jon batiste!!! We love everyone who won tonight!! I don’t wanna see anyone talking any trash at ALL!! Nothing but love!! Talented musicians won tonight!! We were lucky to be nominated!! And lucky to perform!!
She was nominated for 7 categories: Album of the Year, Best Pop Vocal Album, Record of the Year, Song of the Year, Best Pop Solo Performance, Best Music Video, and Best Music Film. She still has seven Grammys at home, though, so maybe things aren’t all that bad.
The Bob’s Burgers Movie is described as an “animated, big-screen, musical comedy-mystery-adventure,” which makes it sound like a mashup of some of the show’s best episodes, like the two-part “Wonder Wharf” saga and “The Belchies, also known as The One with “Taffy Butt.” If Disney’s first hand-drawn animated film to be theatrically released since 2011’s Winnie the Pooh (!) has even one song about butts, will it set the record for Most Songs About Butts in a Disney-Produced Movie? Someone — preferably someone who doesn’t mind doing a Google search for “donald duck butt” — needs to figure this out. Meanwhile, I’ll be watching The Bob’s Burgers Movie trailer above.
Here’s the official plot description:
The Bob’s Burgers Movie is an animated, big-screen, musical comedy-mystery-adventure based on the long-running Emmy-winning series. The story begins when a ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope and fight to get back behind the counter, where they belong.
The Bob’s Burgers Movie, featuring the voices of H. Jon Benjamin, Kristen Schaal, John Roberts, Dan Mintz, Eugene Mirman, Larry Murphy, Zach Galifianakis, and Kevin Kline with a screenplay from Loren Bouchard and Nora Smith, opens on May 27.
Following a disastrous appearance on The Problem with Jon Stewart, conservative writer Andrew Sullivan accused the Apple TV’s show booker of essentially duping him into a panel discussion racism where he was eviscerated by host Jon Stewart. In a lengthy and on-brand Substack post, Sullivan claimed he was initially told that he’d be taking part in a one-on-one interview with Stewart. However, 24 hours before taping, Sullivan said he was “ambushed” by the news that it would be a panel discussion titled “The Problem with White People,” which Sullivan wrote was a “a title I’d never have been a party to, if I’d known in advance.”
Unfortunately for Sullivan, Stewart was not taking this accusation lightly. The host took to Twitter where he defended his booker and called out Sullivan for attempting to shift the blame for his embarrassing performance:
Nonsense @sullydish. Our booker handled this last minute ask impeccably. Mr Sullivan was told, texted and emailed a detailed account of who was on the program, the content and intent of the discussion. She patiently handled his high maintenance shenanigans and gave him every opportunity to excuse himself. This man wasn’t ambushed. Any damage incurred was self inflicted.
Stewart than tapped into his trademark defiance and blasted Sullivan for accusing The Problem With of being “woke” because he was met with some resistance during the discussion. “And can we stop with the lazy ‘woke’ sh*t anytime someone disagrees with a conservative,” Stewart tweeted. “F*ck man.”
Nonsense @sullydish. Our booker handled this last minute ask impeccably. Mr Sullivan was told, texted and emailed a detailed account of who was on the program, the content and intent of the discussion. https://t.co/SfHeK4unNY
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