Reality TV host-turned-failed president of the United States Donald Trump has officially been informed by the New York Attorney General’s office that the Trump Organization is under investigation for all sorts of shady dealings, and that the probe “into the organization is no longer purely civil in nature. We are now actively investigating the Trump Organization in a criminal capacity.” So, as Jimmy Kimmel shared during his Wednesday night opening monologue, the former POTUS did what any totally innocent and law-abiding former president would do: he did an interview with OAN—his favorite far-right, totally bonkers “news” network—to peddle false claims about a rigged election.
After noting that “there’s no greater divide between anyone’s future than Donald Trump. In 2025 he could either be president again, or trading cigarettes for face bronzer,” Kimmel shared part of Trump’s sit-down. What did #45 want to talk about?
“There was an expression that I’ve heard that you’ve heard for many years: ‘The vote counter is far more important than the politician or the person running for office.’ And that was the case in this instance for the presidential election. Very sad that this could happen. It was a third-world election.”
First: Is that really an expression that we’ve all heard?
More importantly: Please note the MyPillow promo scrolling at the bottom of the screen!
OAN
When the interviewer stroked Trump’s ego by nodding her head and saying that it looks like a lot of that could be uncovered soon, Florida’s ultimate Florida Man said, “It’s being uncovered now. And it would be nice if the papers would report it. But they don’t want to do that.”
Poor Trump. Always the victim.
Kimmel, who accurately described the reporter’s demeanor as being “like a nurse at a mental institution,” summed up the story by wryly noting that:
“All this nonsense—all this division and anger and mistrust—it’s all because one guy’s ego is so out-of-control, he can’t deal with the fact that he lost an election. Trump did that interview with OAN because even Fox and Newsmax are scared to keep going down this election fraud road. Fox News right now is asking a court to dismiss a $1.6 billion that was filed against them by Dominion Voting Systems. They claim they were just reporting the news; they say they were ‘covering both sides of this vigorous election dispute.’ That’s their quote.”
Native Americans have been especially hard-hit by the COVID-19 pandemic. In Montana, Native Americans account for 6.6% of the population but are 17% of the state’s total COVID-19 cases.
The Blackfeet Nation Reservation in northwestern Montana is no exception. The reservation is home to just under 10,000 people but in less than a year, it recorded a total of 1,3838 COVID-19 cases.
At the pandemic’s height, there were 390 cases of the virus on the reservation and the number tripled over just 10 days. The tribe lost 47 members to the virus.
Given the devastation the pandemic has on the Blackfeet Tribe, it has taken vaccination seriously. As of late April, 98% of the tribe was vaccinated.
In an act of goodwill, the tribe has decided to donate its leftover vials of Pfizer and Moderna vaccine to their neighbors on the other side of the border in Canada. The tribe calls the donation is a “gift” of “reconciliation” between governments, nations, and tribe members.
“We started having some discussion about that about a month ago,” Piita’hkotokii James McNeely, the public information officer with the Blackfeet Tribe, said in late April. “We threw this together in the last seven, eight days and it really fell together.”
Over the past month, the tribe has held multiple clinics that have drawn hundreds of people from all over Canada to get vaccinated. The first clinic in late April vaccinated over 450 people. A follow-up clinic on Monday provided many with their second doses.
A huge thank you to The Blackfeet Tribe, based in Montana. They had an abundance of vaccine and decided to share i… https://t.co/VUgK0OlBb5
Ken Sawartzy drove nearly 400 miles from Calgary to make sure he got his booster shot. His wife is a cancer patient, so he had no problem going the extra mile for his final shot. “This will make sure we’re both safe, because I’m her caregiver, too. I think it’s a great thing,” Sawatzky told the CBC.
“It’s absolutely beautiful. The Blackfoot Indians are just coming through (for us),” Dave and Cathy Goodbrand from Calgary, who just got their second shots, told the CBC.
A Toronto man, cars full of 18-year-olds and Calgary residents getting their second shot are among those the Blackf… https://t.co/IcczndjYCh
The long lines of Canadians flocking to the reservation highlight the difference in vaccine availability between the two countries.
“I had a hard time believing it was that hard to get a shot in Canada,” Bonnie Healy, health director for the Blackfoot Confederacy, said.
America has vaccinated its population at a faster rate than Canada, but Canada will eventually surpass the U.S. in the percentage of citizens who’ve got the jab. A major reason for the difference is vaccine hesitancy.
Thirty-four percent of Americans have said they will not be getting the shot, versus just 12% of Canadians.
Blackfeet Tribal leaders are happy that their gift has been so well-received.
“I am actually brought to tears today hearing that the efforts to assist our relatives and folks across the medicine line with vaccines has been awesome! Many of the folks cried today when they were able to get vaccinated,” McNeely said.
Bloodshy’s voyage throughout the music industry mimics that of a mythological shapeshifter. Chalk it up to whatever’s in the magic water of his native Sweden, which has birthed fellow pop greats like Max Martin, Swedish House Mafia, and Robyn.
“I also think that bands like ABBA have played a big role in making [Sweden] big. Sometimes Sweden has been fresh and stood for something new,” he tells UPROXX. “And other times it’s made the biggest cheesy pop songs. But sometime in the ‘00s, there were studios everywhere. Everyone was cooking up beats and writing melodies. I feel like when it’s very dark and you’re very much inside, creating in the studio is appealing. I wanted to escape and be in my own little bubble.”
Born Christian Karlsson, Bloodshy first emerged as one-half of production and songwriting duo Bloodshy & Avant with Pontus Winnberg. The pair’s breakthrough was Christina Milian’s self-titled debut album in 2001, producing top 10 singles “AM To PM” and “When You Look At Me.” From there, Bloodshy & Avant worked with major pop stars, including Madonna, Hilary Duff, Jennifer Lopez, Sky Ferreira, Kylie Minogue, and Katy Perry.
But their most prominent work was that with Britney Spears. Beginning with 2003’s In The Zone (including the Grammy-winning “Toxic”), the producers helped bolster her sound for nearly a decade: 2004’s Greatest Hits: My Prerogative, 2005’s Chaotic, 2007’s Blackout, 2008’s Circus and 2011’s Femme Fatale.
Bloodshy continued to redefine himself. In 2007, he and Winnberg founded indie-pop band Miike Snow alongside American musician Andrew Wyatt (who later won an Oscar for co-writing A Star Is Born’s “Shallow”). In 2013, Bloodshy formed Galantis as a collaborative project with Swedish DJ Linus Eklöw. The electro-house duo refreshed the genre while dominating the festival scene worldwide. Along the way, they earned a 2016 Grammy nomination for “Runaway (U & I).”
The duo has released a string of singles since last February’s Church album, and its latest is “Heartbreak Anthem.” Shared today (May 20), the motivational anthem features Little Mix and David Guetta, whom Bloodshy previously worked with on 2015’s “Bang My Head.” “A good friend of mine works as an A&R with me. He’s also a producer/writer and tight with David Guetta,” he says of the song, which was born out of a London writing camp. “So he came to the idea to ask David if he wants to jump on it. He really liked it and started to work on drop ideas. It kept on taking different shapes and forms for a long time until the final product.”
Below, Bloodshy goes down memory lane with UPROXX about his punk beginnings, working with pop all-stars and the state of dance music.
Can you take me back to that time when you first discovered music as a teen?
I definitely came into the music industry from being in the subculture of skateboarding. When you were a skateboard kid, everyone was doing some sort of music. But I started in punk rock ‘cause it’s very easy to get into. There are like three different chords and you don’t need to be a very amazing singer to be able to get straight into starting your band. I love that culture still today. It meant so much to me, but hip-hop came into the skateboard culture in the early ’90s.
So I started to rap and make beats really when I was like 15. With punk rock, when you had the guitar, a mic, and somewhere to rehearse, that was it. You didn’t need anything more. But for hip-hop, you needed a sampler and a drum machine. That opened up so many new things because those tools were just so new and so exciting. I guess making beats just spoke to me. I continued to be a rapper for a bit, but more and more, I started to give away my beats to other people.
Really early on, I got the chance to remix Jay-Z’s “Hard Knock Life.” That was one of the first gigs I got and I was really proud of that. That was the beginning of everything. I was taking any work that I got because even though I was a beatmaker, I was still writing melodies. So when I got the chance to do both, I jumped on that. Whoever was knocking at my door, I was just giving it my all. I never left the studio. I basically slept on the floor and ate ramen noodles. [laughs] The struggle was beautiful though.
There’s a lot of producers who throw anything on a beat to make a quick hit. But you make sure the melody is perfect first.
Because I was so engaged in writing melody, I found out that a great beat isn’t a great song. You can force a melody on top of it and it won’t be a beautiful combination. As much as I like hip-hop, I still wanted everything to sound like a great song, even if the beat wasn’t even there, even if you have to play it on a shitty guitar around the campfire.
I couldn’t play a lot of chords, so I used the sampler as my tool. But to come up with a melody, I didn’t need anything but my voice and ideas. I kept on sharpening that to not be scared just because I wasn’t a singer. I also believe that when you’re not a great singer, you have to work even harder to get a great note [in order] to pass in a room with people that can sing. You really have to bring your game. Otherwise, they’d be like, “What is that?” But in the writing session, that shouldn’t matter. Unless the artist is with you writing it, the great melody is what should be the winner.
Speaking of melodies, you and Avant have created some of my favorite songs for Britney Spears. I love the way that you guys flipped that Bollywood sample on “Toxic.” It is a major pop song, but the sound itself is pretty terrifying.
No one else, as far as I know, was making songs that way. But that day I had probably 10, 15 ideas going and I was playing around with different types of Bollywood strings. The one we used was the only one going on a loop [begins singing “Toxic” melody]. I was thinking, “How do I make this into a song?” It’s kinda annoying but there’s also something brilliant about it. Slowly it was this procedure when you’re [chipping away at] something like Da Vinci. But it wasn’t like, “Oh my God, this is the one!” There were other songs done the same day. But this one also wasn’t made for Britney.
From what I know, “Toxic” was first pitched to Janet Jackson and she didn’t want it. And then to Kylie Minogue but she didn’t respond, so Britney ended up taking it.
You’re the first one to have the full story correct. [laughs] Actually reminded me about it. I always tell the Kylie story, but I flew to London to meet Janet and I played her the song. Later on, I had to make a big decision between continuing to work with Janet or start working for Britney. I chose Britney, and not because I was a bigger fan of her, but I just felt like I had more stuff that would fit her whereas Janet had a very strong plan of what she wanted. I sent [“Toxic”] to Kylie’s team as well and they didn’t get back to me [in time]. They did later on though and wanted the song, but then I already gave it to Britney.
A lot of fans, including myself, see Blackout as her best musical moment. There’s “Radar,” “Freak Show,” and “Toy Soldier.” But “Piece of Me” was a huge statement for her.
There’s so many layers to the story with me and Britney because there were different times in her life. But I totally agree with you, Blackout is a standout pop album. I’m very proud of being a part of it because I also loved the other work on it like Danja, T-Pain… it’s an amazing album. But it’s interesting because it was made when I think she was down and not in a good headspace at all. I think everyone that worked on the album was trying to help her come back in whatever way we could, which was with music. I was told by everyone at her label: “Whatever you do, don’t write anything about what’s going on with her. Just write other stuff.”
I was like, “I have to write ‘Piece Of Me.’” I just wanted her to come back and they said, “I know we told you not to, but this is really good.” And she really liked it. She was in there working really hard on the vocals and everything. But there were different types of journeys. Sometimes it was spending a lot of time in the studio with her or being with her on tour and making music on the bus. But around the Blackout album was a very different time for her. So it became a very different time for me as a producer and writer as well.
I think around that time you formed Miike Snow and that indie sound was completely unexpected. Why did you want to branch out?
Because there was something that I was holding inside all the time. Coming from punk rock and hip-hop where I was expressing myself, and then going into being a writer-producer where I worked for other people. I was just pushing down what I wanted to do. I was still making the music, but [I was told] “This is too left.” I put it in a drawer basically. Then at some point, I was like, “This is a big drawer of stuff here. How do I create a vehicle for the music?” It was a combination of being a little bit fed up being told by everyone in the industry that they wanted another “Toxic.” They wanted me to basically repeat myself. There wasn’t anything that appealed to me to do that. I always want to change what I’m doing and explore making music. So Miike Snow was kinda like my way of saying, “It’s been a good ride. I’m doing something else now. And I don’t care if no one listens to it.”
That was your middle finger to the music industry. [laughs]
It was actually. [laughs] And it felt really good to do that at the time. I was so proud of me, Pontus [Winnberg] and Andrew [Wyatt]. We really didn’t care if anyone would hear it. Like maybe we put it out on MySpace since that was the thing at the time. Also [I was] coming from being a top producer-writer going to the bottom again because we were a brand new band. We weren’t telling anyone who was in Miike Snow. We were like, “Let’s do some shows and be the first act of three in venues for a hundred people.” We were in a van going around and putting together all these gear for every show, which took hours.
There were like 10 people there who all hated our music ‘cause we were opening up for bands that didn’t really sound like our music. But we loved it anyway. We learned something from every show and what we wanted to do for our next steps. It was the same way I think about music: “How do I create the next sound for pop?” All three of us let ourselves just have the craziest ideas, then we just went for it.
So I know you’re busy with Galantis, but can we get a new Miike Snow album soon?
Absolutely. We’ve been working this whole year in the pandemic, although it’s been a little tough cause we’re usually in the same room together. We have been a little bit, but also sending a lot of stuff back and forth. But I’m back in Sweden after 10 years, so I’m now with Pontus again. Back to where it all started.
You’ve seen the evolution of dance and pop firsthand. Now we’re in an era where hip-hop has taken over because of streaming, but dance still has a stronghold on music festivals.
During my time in the music industry, hip-hop has had very big highs and lows. But pop and dance haven’t had such dramatic ones. But I don’t like trying to change my style just because it’s trendy, but a lot of colleagues of mine are jumping on hip-hop now. I like to stick to what I want to do. You’re absolutely correct because the stock never went down in the festival scene.
It went down in streaming because hip-hop [dominated] so I guess it took people’s attention. And it makes sense ‘cause dance is very easily the favorite for a lot of people in a big stadium maybe over hip-hop. It depends, I guess. But dance music has been so engaged in making big shows for a long time and I don’t think it’s going anywhere. Even when I wrote “Toxic,” it has a lot of dance elements to it. It actually won a Grammy for Best Dance Recording and I was surprised because I didn’t think about it as a dance song.
And to go back to the whole story of Miike Snow kind of giving a finger to the industry, for every show, [fans] wanted an after-party and a DJ set. And that’s where Galantis was born because I didn’t have enough dance music for those sets. So I wanted to create more music.
Can you recall any fun studio moments with an artist?
It’s funny, you have a working relationship with someone and you’ve done a lot of music and then you end up being friends because the music never came out. Like I worked a lot with Ricky Martin a long time ago and then nothing came out, but I became good friends with him.
But other than that, I think one of my most memorable moments in the studio was working with Madonna [on 2005’s Confessions On A Dance Floor] because she was probably one of the most hands-on huge artists. I didn’t expect her to be listening to everything in the production. She was like on me, sitting behind me being like “Hey hey, wait!” [laughs] She’s amazing and such an inspiration being in a studio with her.
I’m curious how you balance all of this. Miike Snow, Galantis, and Bloodshy the Producer are three completely different entities.
I actually just make music every day. To be honest, a lot of the time I’m working on something and I think it’s Galantis, but it ends up being Miike Snow later on. Or I give it away, like “Bang My Head” for David Guetta. I like to say you can dress up a song in different types of clothing and it will fit different projects. So I try to not think about what the song is for. I let it go where it wants to go.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
While Jenny Lewis is primarily focused on music these days, once upon a time, she was a successful child actress. Lewis appeared in movies like The Wizard and Troop Beverly Hills, as well as TV shows including The Golden Girls and Growing Pains. Lewis’ IMDb page is nothing to scoff at, but it turns out it could have been even more fleshed out, as she was really close to appearing in a number of classic movies and TV shows.
Earlier this week, Handmaid’s Tale actress Ever Carradine tweeted, “Actors: What is a show or movie you came [extremely] close to getting that no one would ever believe? I’ll go first: I tested for Grace on Will and Grace three or four times.” Today, Lewis decided to offer a response, sharing a lengthy list of projects with which she apparently came super close to being involved.
Lewis said she screen tested for the movies Firestarter (1987), Empire Records (1995), Dazed And Confused (1993), and The New Adventures Of Pippi Longstocking (1988). She apparently also got far along in the casting processes of the shows My Two Dads (premiered in 1987), Buffy The Vampire Slayer (1997), and That 70’s Show (1998), as well as the movies Clueless (1995), Gas Food Lodging (1992), Slums Of Beverly Hills (1998), and The Big Lebowski (1998). Lewis later confirmed that the Big Lebowski role for which she read was Bunny Lebowski, a part that ended up being played by Tara Reid.
screen tested for firestarter empire records, dazed and confused & the new adventures of pippi longstocking ! network for my two dads, buffy & that 70’s show read for clueless, gas food and lodging, the slums of beverly hills & the big lebowski
Anthony Mackie was “horrified” to see his The Falcon and the Winter Soldier co-star Sebastian Stan cast as rocker Tommy Lee in Hulu’s Pam & Tommy. But Stan is thankful that the photos are finally out there. Now he can randomly break into “Slice of Your Pie” without suspicion.
Stan told the Just for Variety podcast that the first image from the series, where Lily James’ Pamela Anderson is playfully biting his nipple, was taken during their screen test; he sent the original photo to director Craig Gillespie as inspiration. “I don’t remember who, I think it was probably Craig who said, ‘Hey, let’s go out in the sun and why do don’t we do that?’ We were like, ‘Oh, that’s fun.’ And then we just did it.”
The Marvel star called it “freeing” that people have finally seen him as the Mötley Crüe drummer. “Honestly, it was freeing because I was walking around in these hoodies and hats… just paranoid of being seen,” he said. “I was like, ‘God, I hope they’re finally going to release something so you know what we look like, so we can go on with our lives.’”
I don’t know about that. My life will never be the same after seeing this.
Pam & Tommy, which also stars Seth Rogen, Nick Offerman, Taylor Schilling, and Andrew Dice Clay, does not currently have a release date.
The Austin City Limits music festival announced they’re making a 2021 comeback, just in time for their 20th anniversary. The Texas festival will take place over two weekends this year, and they’ve officially unveiled their 2021 lineup, which features headliners like Billie Eilish, Miley Cyrus, and DaBaby.
While most music festivals this year have pushed their event dates back to account for COVID-19 safety, ACL has booked their usual time. Taking place at Austin’s 350-acre Zilker Park, ACL kicks off the weekend of October 1 to 3 and runs the following weekend of October 8 to 10.
Along with headliners Eilish, DaBaby, and Cyrus, ACL has also booked more than 125 acts to perform across their eight stages. They’ve secured artists like Stevie Nicks, Erykah Badu, Megan Thee Stallion, Doja Cat, Machine Gun Kelly, Black Pumas, Greta Van Fleet, St. Vincent, Modest Mouse, Phoebe Bridgers, Jack Harlow, Band Of Horses, Bleachers, Future Islands, Polo G, Finneas, Chet Faker, Dayglow, Freddie Gibbs, Tierra Whack, Moses Sumney, Channel Tres, Omar Apollo, Tate McRae, Hinds, Goth Babe, Kennyhoopla, Toosii, Holly Humberstone, and more.
Check out ACL Festival’s full lineup above. Tickets go on sale 5/20 at 12 p.m. CDT. Get them here.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
When the first trailer for Doctor Strange hit in 2016, it sparked a significant controversy that still exists to this day after Marvel decided to cast Tilda Swinton as The Ancient One. In the comics, The Ancient One is a Tibetan man who trains Stephen Strange in the mystical arts and sets him on the path to becoming Sorcerer Supreme. However, Marvel wanted to avoid the stereotype of the magical old Asian man, so they cast Swinton in the role to shake things up. Unfortunately, it did not go over well, and Marvel and Swinton faced considerable backlash for whitewashing the character.
It also didn’t help that C. Robert Cargill, one of the Doctor Strange co-writers, said the decision to cast Swinton was because of China. “The thing about the Ancient One is it is Marvel’s Kobayashi Maru,” Cargill told the Double Toasted podcast in the days following the uproar. “There is no other character in Marvel history that is such a cultural landmine, that is absolutely unwinnable.”
However, with five years between now and the Ancient One controversy, Marvel Studios head Kevin Feige is admitting that the casting decision could’ve been handled better. Via Men’s Health:
“We thought we were being so smart, and so cutting-edge,” Kevin Feige told Men’s Health in a new cover story on Shang-Chi and the Legend of the Ten Rings star Simu Liu. “We’re not going to do the cliché of the wizened, old, wise Asian man. But it was a wake-up call to say, ‘Well, wait a minute, is there any other way to figure it out? Is there any other way to both not fall into the cliché and cast an Asian actor?’ And the answer to that, of course, is yes.”
Despite the misstep with Doctor Strange, Feige is confident that Marvel is making better decisions with Shang-Chi, particularly with the casting of Liu.
“It’s about having a foot in both worlds,” Feige toldMen’s Health. “In the North American world and in China. And Simu fits that quite well.”
Netflix’s popular Black Summer was a quick-and-dirty-style zombie series that, while technically a prequel to Syfy’s Z Nation, ended up being the show that Fear The Walking Dead fans would have preferred before the AMC spinoff series improved dramatically this year. With that said, genre watchers will undoubtedly look forward to the return of Black Summer, which is now pretty much Black Winter, as if survivors weren’t having a miserable enough time already. This trailer follows up on a heck of a season finale moment, in which Jamie King’s character found her daughter in the stadium, where she probably shouldn’t be, considering that the military was supposed to save everyone.
That’s dark stuff and the confirmation that there was no plan to save mankind. So, expect a new batch of episodes full of cold-blooded fresh challenges while violent militias get down with their bad selves. Jamie King is back in action mode (she told Collider that she nearly lost a hand while filming Season One), and the trailer doesn’t reveal much else, other than humanity as an even bigger threat to humanity than zombies. Also, we get a lot of views of the snowy expanse while the group takes refuge at a giant house while, again, humans are bigger d*cks than the undead.
Oh, and Jamie King’s character gives a warning to her daughter, which makes me think this show might go off on a bender with that character, assigning her a grave importance in an apocalypse that won’t be ending anytime soon, if they’re keeping with Z Nation continuity. Get ready for Zack Snyder’s Army Of The Dead, too, landing on May 21. Lots of zombies on Netflix this summer!
Hollywood will put up with a lot of bad behavior if it results in a blockbuster movie (see: the careers of Scott Rudin and Harvey Weinstein). But tell someone that a well-respected director—even one whose casts and crews have nothing but praise for their on-set leader—issued a “no chairs” rule on the set of a film and people lose their sh*t.
Just ask Christopher Nolan, who incited a media firestorm when Anne Hathaway casually mentioned that the Tenet director bans chairs from his sets. While Nolan and his PR team have since set the record straight that it’s Nolan who doesn’t use a chair, Zack Snyder is proudly flaunting the anti-chair stance he took while filming Netflix’s Army of the Dead.
While sitting down for an interview with The Playlist’s “Fourth Wall” podcast, Snyder shared some of his golden rules of moviemaking and how those translated to the making of his new Netflix zombie-heist-thriller, which stars Dave Bautista, Ella Purnell, Omari Hardwick, Ana de la Reguera, Garret Dillahunt, and Tig Notaro (looking super hot). In addition to co-writing, directing, and producing the film, Snyder served as both its DP and camera operator. That’s a lot of jobs, so Snyder wanted to make sure he was available to his actors and create as open an intimate set as possible. That’s where the whole “down with chairs!” rhetoric came from. As he shared during the interview:
“There’s no sitting down, like, I banned chairs from the set. But the nice thing is, it’s really intimate. I can just talk to the actors right there, I’m not back in a monitor across the room. It was definitely the most purely engaged I’ve been making a movie.”
While we’re not exactly sure how being engaged and standing on your feet all day are related, we’re willing to take Snyder’s word for it (unless #HotTig tells us differently).
Army of the Dead premieres on Netflix on May 21. You can watch the trailer below—just be sure to let us know if you see any chairs.
Jeopardy! has been on the air in one way or another since the ’60s, and over the years, many pop culture figures have had the honor of being mentioned on the trivia program. This usually elicits an excited reaction, as it did from Olivia Rodrigo, who found her way onto an episode of the show this week.
On the May 18 episode, the $800 question in the “Playing Today’s Hits” category read, “Olivia Rodrigo’s first hit single is this breakup song that debuted at No. 1 in 2021.” The correct answer, of course, was “Drivers License.” Rodrigo caught wind of the shout-out and was naturally excited. She took to her Instagram Story to share a photo of the clue and write, “omfg. jeopardy is my fav show.”
While this is the first time Rodrigo has been mentioned on the show since her music career took off in a major way, she has actually been referenced on the show once before. On the June 25, 2019 episode, Rodrigo popped up on the $1,000 question in the category “Teens On TV.” The clue was, “Madison Hu plays Frankie & Olivia Rodrigo is Paige on this Disney Channel show with a ‘AA’ rating.” The answer was Bizaardvark, which ran from 2016 to 2019.
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