Category: Viral

In a move that would feel right at home in the dark superhero comedy, Barack Obama exploded heads on Tuesday when he revealed that he’s a fan of The Boys. While sitting down for an interview with Entertainment Weekly, the former president cited the show as one of his faves whenever he needed to take a break from writing his new book, The Promised Land. Obama enjoyed watching the creative team “turn superhero conventions on their heads to lay bare issues of race, capitalism, and the distorting effects of corporate power and mass media.”

While learning Obama likes to kick back with a raunchy episode of The Boys is a “holy sh*t” moment by itself, the team behind the show were understandably flipping out once they saw the news. Homelander actor Antony Starr seemed to particularly enjoy this latest bit of presidential trivia, and he had some fun imagining Obama watching the extremely NSFW Love Sausage scene from season two.

“Well well well… I wonder what he thought of mother’s milk vs the “snake”…?” Starr wrote on Instagram. “Somehow I can’t imagine him sipping wine and watching that #obama #obamawatchestheboys!? WTF #homelanderobamadreamteam”

Not content with geeking out over the news on Instagram, Starr took his excitement (and snark) to Twitter where he shared some more reactions to Obama’s love of The Boys.

Showrunner Eric Kripke also flipped out over Obama being a fan and was soon joined by stars Jack Quaid and Laz Alonso.

As for the other stars, Entertainment Weekly reports that Erin Moriarty, Aya Cash, and Jesse Usher all posted less permanent reactions in their Instagram Stories, and they’re definitely blown away that the 44th president has been streaming the show. “President Obama has spoken!!! GAME CHANGER!” Usher wrote.

(Via Entertainment Weekly)

I have been watching Better Call Saul and Breaking Bad for years now, and I read nearly every interview, and I listen to nearly every podcast. In that time, I’ve rarely (if ever) heard anyone express anything more than appreciation for the opportunities, for the exceptional writing, and for the exceptional talent both in front of and behind the camera. Everyone who works on Better Call Saul and Breaking Bad speaks about what a dream job it is, and how much they love working for Vince Gilligan and Peter Gould, who are likewise nothing but complimentary of the people who work for them.

All of that can be 100 percent true, but so is this: it’s really hard work. We often hear about how meticulous Gilligan and Gould are, and we know that the writers spend six months in the writer’s room for every season, that every prop is considered, and that every line out of every actor’s mouth is important to the story. What we don’t often consider, however, is the human toll that level of exactitude can take.

It’s why it came almost as a welcome surprise when Bob Odenkirk — speaking, again, to Michael Rosenbaum on the Inside You podcast — talked at length about how challenging the work on Better Call Saul is, and how tense and stressful (especially) the first season was to shoot.

“We rehearse the sh*t out of [the show],” Odenkirk explained to Rosenbaum, adding that he, Rhea Seehorn, and Patrick Fabian all live in a house together, in part to make it easier to rehearse together even when they’re not on set (Michael Mando and Jonathan Banks often come by, as well). They begin rehearsal on a script as soon as they receive it, often up to two weeks in advance, in part because they have to shoot an entire 50-55 page script in 9 days. Seehorn and Odenkirk, in particular, also tend to have a ton of lines to memorize — one-to-two-page speeches, at times — and because every word matters, they have to memorize the scripts exactly as they are written. “We need to learn our lines because they matter. There may be some weird little thing buried in the middle of your lines that looks like nothing but a year later” it resurfaces in another episode.

Odenkirk went on to explain that he hit a wall in the first season, in part because he was in nearly every scene of every episode. “It was just a f**kload of words.” He explained that, in that first season, the producers kept extending his work hours, over and over, and he didn’t know until around the fifth or sixth episode that he had the authority to say no until they asked him to stay and work through the weekend. When he finally put his foot down and asked an assistant director if he was allowed to say no, the director said to him, “I think the crew [which was also overworked] would appreciate it if you said no.” He realized then that the whole crew probably thought he was an “a**hole” for making them work such long hours, though he had no idea at the time that he could control it.

After that, Odenkirk says, he got on top of it. Even still, by the end of that first season, he was completely exhausted. “I was all f**ked up. All f**ked up, and I didn’t even realize it. I got home,” he said, “and my wife and daughter had picked out an awesome f**king dog that I love so much and I just spent the next four months, all day, every day, hanging out with that dog. It saved me. I had no idea what dogs can do for you. She was like a medicine for the degree of stress and tension that I made my way through.”

As rewarding as it must be to make one of the best show on television, it is clearly challenging and exhausting. Someone give Odenkirk (and Rhea Seehorn) an Emmy already. They clearly deserve it.

Source: Inside You with MIchael Rosenbaum

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

A lot of people hate Jack Harlow. Ever since his single “What’s Poppin?” began tearing up the airwaves and landing primo playlist placements, the 22-year-old rapper from Louisville, Kentucky has taken a lot of flak. Before the song’s success, critics were content to ignore the kid, and his 2019 mixtape Confetti was mostly passed over as conventional pop-rap fare, although DJ Booth’s Donna-Claire Chesman was warmer toward the lightweight, easygoing attempt at a breakout moment than most.

But for some reason, it’s “cool” to undercut Harlow, despite his proficiency at the technical aspects of rapping. He addresses as much on his debut album, That’s What They All Say, summing up the general disposition toward him on a song shouting out his NBA player buddy “Tyler Herro”: “The ones that hate me the most look just like me / You tell me what that means.” It may be a reductive, dismissive explanation, but even if it’s slightly insufficient, the pithy line belies a lot of broader questions under surface. Along with the project as a whole, it suggests that perhaps he’s owed some grace — and the opportunity to grow into the artistic promise he flashes on this breezy debut.

What is it about Jack Harlow that makes him so easy to hate? He’s funny, likable, and humble. As demonstrated on “What’s Poppin,” “Tyler Herro,” and the Big Sean-featuring “Way Out,” he rides the beat well, and while his storyline isn’t super compelling compared to what we’ve been conditioned to expect from the more critically hailed rappers of today, his punchlines are clever enough to induce a smirk and his music overall is inoffensive enough that you can let the songs ride out without scrambling for the skip button. He even exhibits the wherewithal to engage with the culture on a deeper level than you might expect from first glance, employing 1500 Or Nothin as executive producers and soliciting soulful sounds from the usually rowdy JetsonMadeIt — the beatmaker responsible for the tinkling keys and thunking drums of his breakout hit.

He smartly taps into a variety of subgenres across the project to showcase his versatility and willingness to immerse himself not just in hip-hop, but in the genres that inform the one he chooses to take part in. But the benefit of the doubt doesn’t come easy — especially in a year in which the highlights were the projects that delivered the expected levels of trauma porn and the truly innovative ones were largely overlooked. And while innovation isn’t the most distinctive characteristic of Harlow’s debut, it’s a good album, if it isn’t a great one. Maybe that’s why it seems perfectly calculated to piss off the aggressively predictable hipster rap criticism complex.

While his “Tyer Herro” opening quip does come pretty close to hitting the nail on the head, he doesn’t seem all that interested in pulling on that particular thread. Maybe he should have. If nothing else, it’d make his detractors a little less comfortable in their smug superiority to question why a collection of fun, not entirely wholesome party raps — the entire basis of the genre, to be sure — are somehow less worthy than the stern-faced, crime-riddled tales of damaged childhoods and neighborhood degradation that mark the critical faves. It’s probably not quite Jack’s place to bring it up, but hip-hop should have room for lighthearted boasts as much as it does grimdark narratives of midday shootouts and omnipresent paranoia presented by “opps.”

But maybe a conversation about white folks’ place in hip-hop isn’t the one he wants to have so he steers clear, content to rest in his relatively cozy position in the continuum of white boy rappers, confident in the knowledge that a reevaluation is likely no further than an FX sitcom away. Maybe he remembers how previous generations of critics praised the Beasties to the high heavens, despite them being no deeper than a swell soundtrack to a Friday night fraternity party, or how they similarly dismissed Mac Miller, only to hail his breakout mixtape K.I.D.S. a decade later with 20/20 hindsight. Yesterday’s frat rapper is the next decade’s misunderstood genius, only it’s not quite sophisticated enough to give one that credit in the moment.

Yet Harlow shows flashes of those forebearers here, with a twist of something like sophistication on tracks like “Same Guy,” which brings in a gospel choir — an eye-opening choice for an artist as young as he is. Static Major appears along with Bryson Tiller on “Love Is Dro,” paying homage to an artist decades removed from Harlow’s rise to stardom, while “Baxter Avenue” is earnest and biographical, even if it isn’t rife with exciting elements like drug sales and home invasions. Complaints that he doesn’t quite dig deeper than empty flexes about materialistic purchases and his sexual prowess apply just as much to the hustler rappers that dominate year-end lists. If there are any shortcomings to That’s What They All Say, they are in his somewhat tasteless choices of guest artists — Chris Brown and Tory Lanez are disappointing inclusions after a year that highlighted the importance of protecting Black women. While Jack would likely still be thrashed whether he condemned them or enabled them, neither contribute enough to their respective appearances that he absolutely needs them here.

However, Harlow holds his own alongside Big Sean, Bryson Tiller, EST Gee, and Lil Baby, proving to be personable enough to justify the buzz and the breakout and demonstrating good artistic instincts that could flourish into the same sort of musical experimentation that defined the last few Miller projects, given time and leeway. If nothing else, That’s What They All Say is a solid request for those elements to the equation, an argument for Harlow’s inclusion into the cool white boy discussion, and a reason to ease up on the verbal abuse. Give the kid a chance and he might just surprise you.

That’s What They All Say is out now on Atlantic Records. Get it here.

Jack Harlow is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

It’s been over a year since Roddy Ricch released his acclaimed and successful debut album, Please Excuse Me For Being Antisocial. In that time, the album’s track “The Box” went on to become a surprise hit, spending eleven weeks at No. 1 on the Billboard Hot 100. Such is the staying power of the song that Roddy was able to extend its run one more time, performing it as the musical guest on last night’s episode of The Late Late Show With James Corden.

Noting that the Compton rapper had received six Grammy nominations for the 2021 awards for “The Box” and “Rockstar” with DaBaby, Corden conducted his interview with Roddy via a giant screen on his set. The two discussed Roddy’s “first Christmas in charge,” leading to a minor meltdown from the host when Roddy revealed he somehow got his hands on “eight PS5s.” Corden also gave Roddy the opportunity to elaborate on his hometown gift giveaway, in which Roddy took over the Compton airport to give away thousands of toys.

Then Roddy launched into his pre-recorded performance, which included a live band, a stripped-down performance in a living room set, and silhouettes of his boys dancing to the song on the wall. Roddy previously performed the song on The Tonight Show and at the 2020 BET Awards.

Watch Roddy’s Late Late Show appearance above.

Where will the Trump family go after Joe Biden’s inauguration on January 20, 2021 (and after the Secret Service extracts Donald from the White House)? It’s a real question, given that Ivanka and Jared Kushner won’t be welcomed by NYC (there are posters to prove it), so they’re apparently headed to New Jersey. This week, reports indicated that Melania Trump is ready to get the hell out of D.C., and she’s been researching Florida-based schools for Barron with a plan for moving to Trump’s Mar-a-Lago resort in Palm Beach. Well, that might not be working out too well after all because the Washington Post is reporting that the resorts neighbors are putting up a fight.

Those people who own the houses surrounding the Mar-a-Lago are actually taking their complaints to court, and unlike the Trump campaign’s many frivolous fights, these neighbors have legal standing to make their argument. According to an agreement viewed by WaPo, Trump signed away his right to live at the resort back in the 1990s. In other words, Trump ended up Trumping himself? He apparently did so by agreeing that no one could stay at the club more than 21 days per year:

That message was formally delivered Tuesday morning in a demand letter delivered to the town of Palm Beach and also addressed to the U.S. Secret Service asserting that Trump lost his legal right to live at Mar-a-Lago because of an agreement he signed in the early 1990s when he converted the storied estate from his private residence to a private club. The legal maneuver could, at long last, force Palm Beach to publicly address whether Trump can make Mar-a-Lago his legal residence and home, as he has been expected to do, when he becomes an ex-president after the swearing-in of Joe Biden on Jan. 20.

That’s messy, and awkward, and the neighbors further stated in their letter that they want Palm Beach to make a public declaration to Trump to “avoid an embarrassing situation.” That situation, presumably, would involve Trump moving into town, clogging up streets with traffic, and flouting local ordinances, which he’s already done by erecting “a massive flagpole,” among other things. And then things would grow even more embarrassing when he’d be asked to move out.

The bottom line, though, is that there’s probably no way that Trump can use the property as a home and a club for profit unless the agreement changes. And he’s tried repeatedly to overturn the agreement, according to The Post, to no avail. Might be time to move to Russia!

(Via Washington Post)

Not long ago, Jeremih was in a tough spot dealing with COVID-19, as he was in the ICU and his condition was pretty serious. Fortunately, he was able to leave the hospital last month and seems to be doing better now. He stopped by Sway In The Morning and talked about his experience, revealing more about what he endured.

Jeremih said that he had multisystem inflammatory syndrome (MIS) and recalls “seeing a white light” on at least one occasion:

“What I can say is, man, it definitely is real. I didn’t take it for granted, and truth be told, this was kinda like… I’m a living, walking testimony. To let y’all know, I was really down bad for the last month and a half while I was in there. I don’t even remember the day I went in. That’s how messed up I was. […] I had the tube down my throat for about a week and a half. I was really, like, in a dream and I ain’t gonna lie, I woke up about two times and all I remember is just seeing a white light. […] What I ended up having — and I don’t mind sharing it because now, you know, I’m here — it was called a [multisystem] inflammatory syndrome, MIS, which is a rare case of, you know, cause and effect of COVID. My whole insides, all my organs, became inflamed. It was going down.”

Check out the interview clip here.

Both the British government and Princess Diana’s brother want everyone, but especially us fast food-loving Americans (the Burger King is the only royal for me), to know that Netflix’s The Crown is not real. “It’s a beautifully produced work of fiction, so as with other TV productions, Netflix should be very clear at the beginning it is just that,” said United Kingdom culture secretary Oliver Dowden, who also politely asked (because, British) Netflix to put a “fiction” disclaimer on the series. “Without this, I fear a generation of viewers who did not live through these events may mistake fiction for fact.”

The debate has even gone to Parliament:

Culture minister John Whittingdale told a parliamentary committee on Tuesday that it “does no harm” for Netflix to make explicit to subscribers that The Crown, although pegged to real events, is [creator] Peter Morgan’s “speculation or imagination as to what might have happened.” … Ultimately, the UK government has no power to compel Netflix to make a change, partly because the United States streamer is regulated in the Netherlands.

Emma Corin, who plays Princess Diana in season four, thinks it’s unnecessary.

“It is very clearly a dramatized version of events,” she told The Big Ticket podcast. “This is fictitious in the same way people don’t mistake Succession for what actually happened with the Murdochs.” That being said, Corrin understands that the request “comes from a place of sensitivity and protectiveness of the royal family and Diana.” While I think the “fiction” disclaimer is unnecessary for The Crown, I hope HBO adds one for Succession.

“This is fiction, and f*ck off if you think it’s real.”

(Via Variety)

Soul (which will be on Disney + on December 25th) is the fourth Pixar movie Pete Docter has directed. Between his prior three Pixar films — Monsters, Inc., Up, and Inside Out — there’s a good case to be made he’s responsible for full lakes of tears shed. (Mostly for those last two movies listed.) Though, with Soul, people expecting the waterworks again might be surprised just how weird this movie winds up being. Of course, it’s got Docter’s, almost patented by now, meditation on death and what makes us tick, but now mixed in with some pretty trippy visuals (and trippy music, provided by Trant Reznor and Atticus Ross), it makes for quite the wild ride. As I told Docter, writer Kemp Powers (who is having a pretty busy year between this and the Oscar-buzzy One Night in Miami), and producer Dana Murray … I kind of wished I had watched this movie “at night.” For example, at one point the main character becomes a cat.

That main character we speak of is Joe (voiced by Jamie Foxx), a music teacher who dreams of playing jazz full time instead of teaching kids who don’t appreciate him. Unfortunately, after getting his big break, he falls down a manhole and finds himself in the afterlife. Joe desperately does not want to be in the afterlife and winds up defying the people in charge of the afterlife to come back down to Earth and get his body back, accompanied by 22 (voiced by Tina Fey), a soul who hasn’t been born yet who doesn’t have things quite figured out, which is why she hasn’t “advanced” to Earth yet.

As the filmmakers get into ahead, Soul gets into some pretty heavy ideas for a kids movie. Especially the concept of “lost souls,” people who are still alive, but get so engrossed in whatever it is they are doing, or what they are believing, they cease to be the person they used to be. When I asked Docter if this had anything to do with people today believing in things like QAnon, he certainly didn’t see that it didn’t have to do with that. (Also, in happier news, Kemp Powers is getting a new puppy and he tells us all about that.)

One of my only notes I wrote down while watching this was, “This movie is wild.”

Pete Docter: [Laughs] Better check your notes!

When I read about the movie I was surprised it was pieced together along the way with a lot of changes, because it feels like someone’s weird vision.

Docter: Well, I think from what I’ve learned about, I’m a huge fan of Disney as well as Miyazaki. And I always had these ideas that the movies would come out fully formed. And all the research that I’ve done shows that even my favorites, like My Neighbor Totoro or Dumbo, went on these super weird circuitous roads. And I do think there is this grand illusion that, when you watch something, it feels like it came down and it was perfect from the beginning. I’m not saying that that’s Soul, but I think the truth is, in all cases, that there’s a lot of development and wrong turns and withdrawals and additives. And it’s a creative process. It’s messy.

I’d be remiss if I didn’t say to Kemp, what a year for you between this and One Night in Miami. This feels like a busy time for you.

Kemp Powers: Yeah… [Laughs] It’s pretty weird. I’m not expecting anything like this to happen again. I’m just calling this my Michael Green year. A friend of mine, Michael Green, a couple of years ago, he wrote Logan and Blade Runner 2049 and The Orient Express and they all came off the same year. Things happen when they happen. So, I’ll take it when I can get it! But yeah, I’m very proud of both films.

Dana Murray: Plus he’s getting a new puppy. So…

Powers: I mean, this week. So yeah.

Do you have the puppy or you’re in the process of getting the puppy?

Powers: I’m in the process of getting the puppy.

What kind of puppy is it?

Powers: Bull Terrier.

Why don’t you have the puppy yet? What do you still have to do?

Powers: I have to get the gear, and the puppy’s not quite old enough.

Oh, I see.

Powers: Like seven, eight weeks. So, yeah, I’m getting the gear and I’m going to pick it up.

Docter: I think there is a big puppy shortage though, right? With the COVID and everything? Everybody wants cute dogs and they’re hard to find.

Is that true? I could see that being the case.

Docter: It’s a puppy shortage.

But isn’t that’s good?

Murray: The shelters are empty, but what it’s going to do is it’s going to spike breeders to breed more, so I don’t know.

Oh…

Murray: Okay… I derailed the whole thing.

So, Soul gets into a lot of things like life before birth and life after death, which are topics people historically get angry about. So how do you broach that without getting too deep into people’s belief systems and still say what you want to say?

Docter And I do think that’s why people argue about it, because they have deeply held beliefs, that of course are impossible to prove in any sort of way like, “look here’s evidence.” So, early on, I know that was a big concern with folks at Pixar. That we were going to accidentally piss somebody off. And, so, we did a ton of research.

That’s a much better way to put it, by the way. “How did you not piss people off?”

Docter: [Laughs] Well, yeah. I mean, my hope was that people would leave the theater, or watch it in their homes, and say, look, we got to talk about this stuff, right? Because it is things that we don’t generally think about a whole lot during the day. Maybe more so now than we pre COVID times? I don’t know. It’s super interesting stuff that I think could really shape the way we live our lives if it was more present Like, what are we here for? What’s our purpose? If we have one. And, I think those are things that if we asked ourselves more often, we might live differently. [Laughs] And, boy, that’s nice, low ambitions, right? With the cartoon movie for kids.

But also, I know Pixar movies can be trippy at times, but this is a trippy movie. I watched this in the middle of the afternoon. While watching I kept thinking this is something I should be watching “at night.”

Powers: [Laughs] When Pete told me that he wanted to make a Terrence Malick-zone for kids, at first, I was like, hmmm.

You need more leaves.

Docter: Yeah, more leaves.

When they jump from space to Earth, the score, is that Trent Reznor and Atticus Ross?

Docter: Yes.

It’s almost like a Tron sound. It makes for quite an experience.

Docter: I mean, for me, as soon as you feel like, okay, well, I’ve seen this before…

Nope, sure haven’t.

Docter: I hope this film is challenging in good ways, but also emotionally truthful. I feel like, boy, it’s a testament to all the great collaborations we had from the music, to the visuals, and everything in between. That people were able to get in tune with, not what is out there, but what’s inside and make things that felt correct for the moment that we’re creating. And that’s tough to do, especially on a deadline.

Soul gets into the idea of “lost souls,” people who get too invested in a task or ideas that they lose who they are. With QAnon and things like that, there are a lot of people out there getting caught up in some pretty crazy ideas and not facing reality. Was that what you were thinking of when you came up with that?

Docter: I think in part that’s true. And then there are a lot of people who just seem to be drifting. You see people walking through the city or are you like, oh, are they there? Are they in their body? Where are they? Actually, I think the way it was originally, if I remember right, Jamie Baker put this in, and he’s one of our story artists. And we were looking for, not bad guys, but scary elements to this place. Because the astral plane is a place where you go when you’re just spacing out and having a good time. And you’re dreaming or daydreaming or doing something you really love. So, we were looking for ways to give that shades and have some stuff that was maybe a little scary to it.

And, the lost souls, I think both do that. But also, as you’re pointing out, I echo kind of a tendency to some of us have in life to kind of drift through. I think also, as we developed, we realized there’s really not too far of a jump from someone who’s totally into something totally passionate into whatever it is … making music. And then, there’s not much of a jump over into being lost and just completely obsessed and consumed by it to the point where you’re not really engaged in life anymore. And so, that seemed like, thematically, right on for what we were talking about.

Well, I’m happy people are going to get to see it under our current circumstances, which I know was up in the air.

Docter: What was your note to yourself again? “This movie is nuts”?

This movie is “wild.”

Docter: Wild! Well, that’s a little more positive I think than “nuts.”

Murray: [Laughs] And you need to watch it at night.

You can contact Mike Ryan directly on Twitter.

Major festivals tend to set the tone for fests more broadly, which is why it was such damning news when Ultra Music Festival and Coachella were among the first fests to change their 2020 plans. Festival organizers held out hope that events in 2021 would be viable options, but even that isn’t guaranteed.

Glastonbury canceled its 2020 fest early on and set new dates for between June 23 and June 27 of 2021. In August, Glastonbury founder Michael Eavis wasn’t sure about the status of the 2021 festival, saying, “The only certainty, I think, is the year after, 2022, to be perfectly candid.” Now, with the 2021 dates just about half a year away, organizers still aren’t sure if Glastonbury will be able to return for 2021.

In a new interview, organizer Emily Eavis told the BBC that a 2021 festival is still far from a guaranteed thing at this point:

“I can’t tell you how much we’d love to welcome everyone back to the farm! It’s been way too quiet here this year and we want to get people back here as soon as we possibly can. Obviously the vaccine news in recent weeks has increased our chances, but I think we’re still quite a long way from being able to say we’re confident 2021 will go ahead.

We’re doing everything we can on our end to plan and prepare, but there are still just so many unknowns and factors which are completely out of our control. What we definitely can’t afford to risk is getting too far into the process of next year, only for it to be snatched away from us again. We lost millions this year, and we can’t risk that happening again.”

She also noted that even if the festival doesn’t go on as planned, it’s possible they could still organize some livestreamed performances, saying, “We’re actually looking into the possibility of streaming some things from here if we can’t run the full show next year. We really want to get busy with planning some gigs — even if they’re to be streamed!”

Read the full interview here.

During a briefing on Tuesday, her first in nearly two weeks, White House press secretary Kayleigh McEnany criticized the media for failing to cover the Hunter Biden non-scandal. “Really interesting turn of events, and good for those who covered what was a story all along and not Russian disinformation,” she said before walking away from the podium. With no f*cks to give, CNN’s Jim Acosta asked, “Isn’t it hypocritical of you to accuse others of disinformation when you spread it every day?” The question went unanswered, needless to say. McEnany also refused to acknowledge Joe Biden as the President-elect (the Electorial College made it official on Monday), because as another CNN employee pointed out, the Trump administration is nothing more than a “carnival of lies.”

While speaking on CNN Tonight, host Don Lemon said, “How do I describe this, uh, carnival of lies that is the White House? While the current president is hunkered down behind closed doors, nursing his wounded pride, his press secretary is acting like the election didn’t even happen. Acting like she is not about to be out of a job.” After playing a clip of McEnany deflecting during the briefing, an exasperated Lemon added, “Do you know she also worked for — girl, bye!” The press secretary used to work for CNN, where she accused Donald Trump of making “racist” statements and called him “a Republican in name only.” All these years, she’s getting buh-bye‘d by her former-co-workers:

“So much disinformation coming from the podium. Every day, it’s like, comes out, reads propaganda, talks about what ‘the media‘ is doing, criticizes ‘the media,’ ‘this what you should be covering.’ I think we got this. You used to sit here on the set with us. I think we got it. When you sat here with us, you thought we had it. You were happy to be here. But now we don’t know what we’re doing?”

One more for good measure: “Girl, bye.” Watch the clip below.

(Via Mediaite)