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The original 1970 film Let It Be has a reputation for showing The Beatles at their worst, months away from breaking up. It’s a hard film to find these days, having never had even a DVD release (a few years ago I resorted to buying a bootleg). When you finally see it, yeah, there’s one pretty tense moment between Paul and George, but other than that its biggest crime is, once the “fly on the wall” aspect wears off, it just becomes a little dull. Not much of anything happens. And even flies on the wall eventually find somewhere else to go. But the thing is, watching the Beatles make an album should be pretty interesting. Especially an album in which, at one point, George Harrison stormed out and quit.

Peter Jackson is adamant that the result of the original Let It Be was not the fault of director Michael Lindsay-Hogg. As Jackson explains, the project changed many times during production, with the final incarnation being an 80-minute feature film that had to feature all the new songs on the album. So this left very little time for anything else so what we got didn’t have much of a narrative. What Jackson did was go through the 50-some hours of footage to put together an eight-hour film showing, yes, some pretty tense parts, but also a lot of footage of a band that is growing apart, but still enjoying each other’s company. By the time they are in their Apple Studio actually recording the album, they look pretty happy. (One of the most revealing moments is, after George quits, Paul and John go off into a cafeteria to have a private argument about this. What they didn’t know was the flowerpot on their table had a hidden microphone, so we get to hear their entire conversation.)

Ahead, Peter Jackson tells us about his misconceptions of what he expected to find, versus what he did find in this footage that not many people have seen over the last 50 years to make The Beatles: Get Back, which will begin streaming on Disney+ on November 25. (When I spoke to Jackson I had only seen a 40-minute preview. As I type this I’m about five and a half hours into the full eight hours.) And, again, Jackson is adamant that Michael Lindsay-Hogg was in a no-win situation and gives the Let It Be director full credit for filming the footage that Jackson would assemble into Get Back. Also, for fans of Jackson’s early films, he said in-between working on Get Back they also worked on 4K restorations of those films, which will obviously look much better than the out-of-date DVD versions.

Before we get to The Beatles, around Halloween my friend let me borrow a DVD of Dead Alive, or Braindead, I know it has two titles. That is a great movie. I hadn’t seen it.

Oh, thank you so much, thank you. Thank you, we’ve been held up a bit by doing this Beatles film, but we are trying to remaster all those early films…

Right, because apparently that movie is hard to come across and I had to watch an old DVD…

Yes. It would’ve been a little bit of a crappy quality for this, because all the DVDs that were out there were done back in the 1990s. So we are doing a remastering and whole digital 4K thing and it looks great. But we’ve been trying to do all that in between Beatles stuff, and that’s been put on a shelf for a while. But, hopefully, within another year or so they’ll come out remastered.

So they sent me about 40 minutes of Get Back. I laughed out loud when Paul is playing “I’ve Got a Feeling,” and he sing the words, “I’ve got a feeling,” over and over. Then George just deadpans, “Is that one called ‘I’ve Got a Feeling’?” I assume there are going to be a lot of moments like that.

Yes, there are. There are these moments where you just are amazed that they’re actually even on film. I mean, that’s sort of one of the things that I love, you see the moment when Paul plays “Let It Be” to the others for the very first time. He’s sitting at the piano, and the others are standing there waiting to be told what to do, or waiting to figure out what to do, and they don’t know what’s going to come out. And he just plays “Let It Be.” I mean, he hasn’t got all the words yet, but he’s got the sort of tune. You see the moment where Paul writes “Get Back.” Literally, he comes in early one day and he’s strumming his bass like it’s a guitar and he’s trying to come up with a new song, because they’ve got to do these 14 songs. He’s not got any particular idea, and over the course of about five minutes – and we showed the whole thing, just one shot with no fancy cutting or anything else; it’s just one shot of him – he slowly, essentially, comes up with “Get Back,” the tune. And he comes up with half the words too, so you see “Get Back” actually being born, so there’s a lot of moments like that.

What is your opinion of the prior Let it Be film? I bought a bootleg online a few years ago. I know it has this reputation of showing them not getting along, but for me, after a while, it just gets a little dull.

I mean, I read in books, oh, they couldn’t stand to be in each other’s company while they were doing this, and they were all just session musicians for each other, and they didn’t want to be here. I’ve read all that stuff for 40 years. And so it’s not the movie Let It Be, particularly, I’m referring to. Because I’ve seen Let It Be, obviously recently, too. And it’s not that bad. It’s not as bad as what people say it is. I think it had two things against it – and it’s unfortunate for Michael Lindsay-Hogg because it’s not really his fault.

Because, I think, obviously, it was released in May 1970. And the press had got wind that The Beatles were breaking up in April 1970. So this fly on the wall movie comes out just the following month. Obviously, back in those days with the lack of information, there wasn’t any internet, there wasn’t any Twitter or anything else. People would’ve seen Let It Be in the cinema and assumed it was filmed in the last month or two, they would’ve assumed it was just shot recently. So, it has to show the breakup of The Beatles – because they’ve just read in the paper that The Beatles were breaking up, so obviously we’re seeing The Beatles breaking up on film. So they projected, and they weren’t even probably aware that it was actually shot 15 months before.

Right, and then they made a whole album after Let It Be, and then Abbey Road came out before the Let It Be album, which added to the confusion…

Yeah, yeah, yeah. I’m sure most of the audience in 1970 wouldn’t really have even been aware of most of that information. And then the other thing against Let It Be, which I feel sorry for Michael, is that he was originally shooting his footage for a 30-minute TV special. And then, halfway through, it changed to being a feature film because they abandoned the TV special. So they didn’t want to abandon his footage so they said, oh, let’s turn it into the next Beatles movie.

Now they have a discussion, we actually have it in Get Back. We have the four of them, or the five of them, because Michael’s there as well, he’s a character in our movie. They’re having a discussion, “Well, we should have shot this on 35mm. If we’d known this was going to be a feature film we should have shot it in 35mm.” And Michael said, “Well, it’s going to blow up, okay.” And then Paul says, “No, no, it won’t. 16mm to 35 blowups are terrible.” It’s like, we’re actually talking about our filmmakers on film. But of course what happened is they did blow it up to 35, and it didn’t really look that great blown up. So when Let It Be comes out, you’ve got this blow-up, a grainy blow-up. And also, a lot of the colors got lost during the blow-up process, so it’s a slightly gloomy-looking film. So you’ve got people watching this gloomy-looking movie with not a lot of color, projecting the whole breakup of The Beatles onto it. So that’s what I think the problem with Let It Be is, which is not the fault of the film. And the film’s actually fine, I mean, I’ve seen it.

I guess the famous part in that one, the bickering between George and Paul during Two of Us, that gets a lot of the attention…

But, the bickering between John, George, and Paul: I think the other problem with Let It Be, is because it was 80 minutes long, Michael had to just go through the bits as fast as he could. So, that bickering, I don’t know how long it is in Let It Be, and I haven’t timed it, but it’s probably 45 seconds or something.

Yeah, it’s fairly short.

I mean, we’ve got the luxury of having this huge, big length that we can use, which Michael didn’t have. And so, I’ve got exactly those same lines. I tried to avoid a lot of Let It Be footage, because I didn’t want this to stomp out Let It Be from the face of the earth, I wanted Let It Be to still exist. But we’ve got that little 45-second conversation, but we’ve also got it in the context of a nine or ten-minute sequence. So, I show the five minutes leading up to it. Then there’s the bit that was in Let It Be, then five minutes afterwards. So I’ve had the advantage, which Michael didn’t have, of actually putting all this stuff into context. And once you see the context of it, you just shrug and think, oh, it’s just like, who cares? It’s not a thing.

And to Michael’s credit, all the stuff you’re using, he did film it all.

Absolutely, he did. Look, I watch this stuff now and I’m blown away. And it’s not because I’m sitting there thinking, “Oh, Peter, you’ve made a fantastic film.” I mean, it’s not that at all. I’m blown away that this stuff got shot in the first place. I’m blown away that it sat in a vault for 50 years. I’m blown away that I’m able to see The Beatles as a fly on the wall. And Michael deserves all the credit for that. Absolutely he does. Absolutely he does.

But were there moments when you’re watching this footage, even if, let’s say you’re in his situation, and you have to make this 80-minute movie… Were there moments that you’re watching, thinking, even in an 80-minute movie, how do you keep this part out? Were there moments like that?

Well, I think also, and you’d have to talk to Michael – I don’t want to put words in his mouth – but I’ve talked to Michael a lot over the last four years and I’ve met up with him and he’s been very supportive. But, well, I get the impression that he also had a movie that was being released concurrently with a Beatles album. The Let It Be album and Let It Be movie were coming out at the same time. So his movie… he didn’t have a story to tell, particularly. He couldn’t tell a story. He had to structure it, “Here’s a song that you’ll hear on the album,” and you see them playing it. “Here’s the next song on the album.”

I don’t know, I can’t remember whether the songs are in the same sequence as the album, but generally all the songs on the Let it Be album are in his movie. So, he ultimately had the responsibility of his film had to include these eight or nine or 10 songs that were on the album, and entire-length performances. And then he put bits of dialogue in between, of course. But because he was lumbered with having to have these two or three-minute song sequences all the way through his movie, and he had 80 minutes, he had very little time to tell a story.

So, what he ended up making was, it’s just very different to what we were able to make. I mean, we’re making the making of the film. We’re telling the story of The Beatles recording these songs and rehearsing the songs. It’s the story of not just Let it Be, it’s the songs from Abbey Road. Of the 17 tracks that appear on the Abbey Road album, 12 of those 17 are done during the Get Back sessions. So we’ve got those 12 songs. You see them writing “Mean Mr. Mustard” and “Oh! Darling” and “Something.”

I saw the “Oh! Darling” part. When John sings about Yoko’s divorce finally becoming official during it.

Yes, that’s right. And we’ve also got several songs, probably eight or nine songs, that appeared on solo albums. I mean, amazingly enough, we have The Beatles doing “Gimme Some Truth.” Which everybody assumes is a John solo song, which obviously was on a John solo album. But we’ve got The Beatles doing “Gimme Some Truth.” We’ve got The Beatles doing “All Things Must Pass,” “Another Day,” “Back Seat of My Car.” So in addition to that, the Get Back part, is also you’ve got Michael Lindsay-Hogg trying to herd cats and trying to shoot his film while they they’re doing all those.

You mentioned Michael being very supportive. What was that initial conversation like? I’m imagining if someone told you they were not just doing a new The Lord of the Rings project, but were using your footage to make something new, that would give you some pause.

Michael was my first conversation after I talked to Apple about doing this, or they talked to me about doing it. Well, first of all, I wanted to look at the footage just to see if I wanted to make the movie. Because I wanted to see if it was as miserable as what I read about, and I soon realized that it wasn’t right. So I got that out of the way. And then the first phone call I made was to Michael. In fact, I went to Los Angeles and I met up with him in the hotel and sat with him. And I said, “Look, are you okay with me doing this?” And if Michael had said no I would have bailed. I mean, I needed him to sign up to do it, because I’m a director, he’s a director, and I’m not going to crap on him. I mean, directors just don’t behave in that way to each other, so it was very important to me that I got his sign-off. But he just said, “Look, I’d much rather you do it than me. I’ve done my film, and frankly, I have no appetite to go back into all that footage again, so go for it.” And ever since, he’s been very, very supportive. He answers all the questions that I have and he’s been great.

‘The Beatles: Get Back’ will begin streaming via Disney+ on Thanksgiving. You can contact Mike Ryan directly on Twitter.

It’s Miley Cyrus‘ birthday today, which coincidentally falls on the same day the Recording Academy announced its full list of 2022 Grammy nominations. Fans were hoping that Cyrus would be able to celebrate a nomination for her album Plastic Hearts along with her birthday, but the singer’s album actually wasn’t included anywhere on the list.

Fans were expecting Plastic Hearts to be nominated in either the pop or rock categories. The album saw Cyrus distinctly pivoting to a classic rock sound, and even featured contributions by musical legends like Billy Idol, Joan Jett, and Stevie Nicks. But shortly after the Recording Academy shared their Grammy nominations, Cyrus’ fans took to Twitter to air their outrage. Many of the singer’s fans argued that Plastic Hearts was snubbed from a Grammy Award this year.

While Plastic Hearts might not be up for a Grammy Award, Cyrus is still in the running for a potential Grammy win this year. The singer’s name did appear on the nomination list under Lil Nas X’s debut album Montero. Cyrus featured on Lil Nas X’s album closer “Am I Dreaming” and since Montero is nominated for Album Of The Year, Cyrus is credited on the nomination list and could potentially receive a Grammy award.

See the full list of 2022 Grammy nominations here.

Doja Cat, who had a huge year with the release of her third album Planet Her, is trying to leverage her influence to bring back a beloved fast-food menu item: Taco Bell’s discontinued Mexican pizza. Last year, Taco Bell cut the menu favorite in an effort to streamline its gargantuan selection (and save over 7 million pounds of paperboard in the process). The move was met with general outcry on social media as fans mourned the loss of the topping-stacked tortilla in a box.

At the time, Doja Cat was one of those who lamented the pizza getting axed, “asking nicely” for the fast-food giant to reconsider. However, in the past year, Doja has apparently accumulated some goodwill at Taco Bell corporate — or, at least, at Taco Bell’s ad agency — landing her song “Get Into It (Yuh)” on the company’s new commercial for its Double Steak Grilled Cheese Burrito. In the ad, a geeky cosplayer (SAGA!!) appears to have met their match, until the infamous Taco Bell sound effect prompts a late-night snack run instead (surely, they could have done both, but I digress).

Doja, seizing the opportunity, tweeted, “Hey @tacobell, just heard my song in your commercial… I’m a #TacoBellPartner now. So where’s my Mexican Pizza?”

When a fan answered, prompting her to speak to Taco Bell’s “Chief Impact Officer,” who is a friend of Doja’s — it’s Lil Nas X, by the way — the Taco Bell account responded in typical personified corporate account fashion: with a the three-emoji string of eye-mouth-eye, implying… well, there are a lot of potential definitions, but in this case, it seems to be a sanguine interest in the topic being discussed.

Of course, that only opened the door for more of Doja’s meme-ready shenanigans, as she hit Taco Bell with that infamous three-letter acronym, “WYD?” When the response turned out to not be “rolling out those delicious Mexican pizzas,” though, she dismissed her new playmate, telling them to “STFU” until further notice.

Could this be the beginning of the return of the Mexican Pizza menu item? Wouldn’t it be a weird way to begin the rollout? And isn’t “weird” pretty much Doja’s (and Lil Nas X’s) whole brand? And how does Rico Nasty — Doja’s good friend who occasionally goes by the alter ego “Tacobella” — figure into all of this (they’ve swapped profile pics for the past week or so)? I don’t know, but I can’t wait to find out. Fingers crossed for a “limited-time” sort of deal, a la Megan Thee Stallion’s “Hottie Sauce” collab with Popeyes.

The New York Giants slipped to 3-7 on the season with a 30-10 loss to the Bucs on Monday Night Football, as their latest poor showing once again put them at the bottom of the NFC East.

Chief among the Giants issues are an offense that simply can’t put up points consistently. New York is third-worst in the NFL in touchdowns put on the board this season at 18, leading only the lowly Lions and Texans, and Monday saw them once again scuttle away opportunities and fail to mount anything approaching a comeback in the second half. While there is plenty of blame to go around, the first to take the fall is always the offensive coordinator, and on Tuesday the Giants announced they had fired Jason Garrett.

Garrett took over as OC for the Giants prior to last season, joining New York fresh off his long tenure as Cowboys head coach. Unfortunately for Giants fans, Garrett didn’t bring some form of resurgent system to New York, but instead produced a similarly mediocre offense — that surely hasn’t been helped by a less than stellar offensive line and uneven at best quarterback play from Daniel Jones. Still, Garrett’s uninspiring offensive scheme is on the way out the door and New York will turn to assistant Freddie Kitchens, per Pat Leonard of the New York Daily News, formerly of the Browns, to see if they can’t breathe life into their offense. If not, more significant changes may need to be made in New York to try and right the ship.

Jurassic World: Dominion doesn’t come out until June 10, 2022 (which is a reminder that we’re approaching the 30th anniversary of Jurassic Park, and I don’t know how to feel about that), but Universal Pictures has released a The Tree of Life-looking prologue for the third and final film in the Jurassic World series.

It begins 65 million years ago, when dinosaurs roamed the earth. There’s big dinosaurs, small dinosaurs, feathered dinosaurs, and egg-eating dinosaurs (get that little cutie in a short with Baby Yoda ASAP). There’s also a mosquito, which transports us to shortly after the events of 2018’s Jurassic World: Fallen Kingdom. Dinosaurs have invaded the mainland, including a drive-in theater where a hungry and confused T-rex interrupts a double feature of American Graffiti and Flash Gordon at a drive-in theater.

The prologue, which was written and directed by Colin Trevorrow, doesn’t appear in Jurassic World: Dominion, but it “serves as the beginning of a story that will be continued in theaters next summer,” according to Universal. Probably not this theater, though:

Jurassic World: Dominion stars Chris Pratt, Bryce Dallas Howard, Sam Neill, Laura Dern, Jeff Goldblum, Daniella Pineda, Isabella Sermon, Justice Smith, Omar Sy, BD Wong, Mamoudou Athie, Scott Haze, Dichen Lachman, Campbell Scott, DeWanda Wise, and a bunch of dinosaurs.

Will Smith and Jada Pinkett-Smith have long established themselves as the King and Queen of Oversharing when it comes to their sex lives, both as a couple and extra-maritally. It didn’t seem like the two of them could reveal anymore about themselves, but then Will released a new memoir, and he’s reaching a whole new level of putting it all out there.

In a new excerpt from Will, the former Fresh of Prince of Bel-Air star opens up about being cheated on by his first girlfriend and responding to the infidelity by having so much sex that he couldn’t have an orgasm without gagging. Once again, thanks for… sharing? Via Buzzfeed:

“Up until this point in my life, I had only had sex with one woman other than Melanie,” he writes. “But over the next few months, I went full ghetto hyena.” Shockingly, Will reveals that engaging in so much sexual intercourse eventually led to him developing a “psychosomatic reaction” to having an orgasm.

“I had sex with so many women, and it was so constitutionally disagreeable to the core of my being, that I developed a psychosomatic reaction to having an orgasm,” he writes.

“It would literally make me gag and sometimes even vomit,” he adds.

Obviously, Will got over his issues and eventually found Jada. According to his memoir, the two spent four months doing nothing but drinking and, well, each other.

“I was going to satisfy this woman sexually, or I was going to die trying,” Will writes while amazingly not producing an itemized list of every single orgasm. You know he and Jada might have one.

(Via Buzzfeed)

Niantic, the developer behind Pokemon GO, Pikmin Bloom, and the recently shut-down Harry Potter: Wizards Unite, might just be a company you’re going to be hearing a whole lot more from, and it’s not because they’ve got another adorable hit game lined-up. Shortly following Facebook’s rebranding to Meta, Niantic has also announced they are also getting more heavily involved in creating virtual spaces. As a result, the studio has received a $300 million investment from Coature, valuating the company at $9 billion. With this funding, Niantic intends to get to work on a “Real-World Metaverse,” a platform for AR based on a 3D map of the world, according to The Wrap.

However, if all that brings to mind a world of people strapped in VR headsets, rest assured that Niantic CEO and founder John Hanke agrees that that sounds like a “dystopian nightmare.” Rather than using VR, Hanke is focused on implementing AR technology, merging the real world with the digital in hopes of making it more “magical, fun, and informative.”

“We’re building a future where the real world is overlaid with digital creations, entertainment and information, making it more magical, fun and informative,” Hanke said. “This will take a significant investment of talent, technology and imagination, and we’re thrilled that Coatue is on this journey with us.”

Matt Mazzeo, a general partner at investor Coatue, said the company is thrilled to partner with Niantic because they see “this infrastructure supporting a metaverse for the real world and helping to power the next evolution of the internet.” According to Mazzeo, Coatue believes the unique, AR-based on a 3D map of the world Niantic is currently building “will play a critical role in the next transition in computing,” making them more than happy to invest $300 million into the endeavor.

All this news follows Niantic announcing the creation of their new developer’s kit, Lightship, earlier this month. With the creation of Lightship, various partners — such as Coachella, Historic Royal Palaces, Lifull, the PGA of America, Science Museum Group, Shueisha, SoftBank, the artist JR and Superblue, TRIPP, Universal Pictures, and Warner Music Group — will have the ability to use the same AR technology utilized by Niantic to create Pokemon GO to build their own AR experiences. In addition to Lightship, Niantic also unveiled Niantic Ventures, “a $20 million fund to help identify and fund the AR leaders of tomorrow.”

The Recording Academy has officially unveiled their full list of nominations for the 2022 Grammy Awards. Notable musicians like Cardi B, Lil Nas X, and Justin Bieber are up for awards this year, but the ceremony also has categories for non-music albums, like the Best Spoken Word Album category. This year, the Grammy nominations for Best Spoken Word Album means that Dave Chappelle and Barack Obama are officially pitted against each other for the same award.

The 2022 Grammy nominations for Best Spoken World Album includes Dave Chappelle’s 8:46, Barack Obama’s A Promised Land, LeVar Burton’s Aftermath, Don Cheadle’s Carry On: Reflections For A New Generation From John Lewis, and J. Ivy’s Catching Dreams: Live At Fort Knox Chicago.

If Chappelle wins, it would be his fourth straight year picking up a Grammy after winning in the Comedy Album category in 2018, 2019, and 2020. If Obama won the category, it would be the former president’s third time. He previously won a Grammy in the Spoken Word category in 2005 for Dreams From My Father (Senator Barack Obama) and 2007 for The Audacity Of Hope: Thoughts On Reclaiming The American Dream.

Chappelle’s nomination comes from his 2020 Netflix special, which has a title that references the murder of George Floyd by police. But the comedian’s recent 2021 special The Closer has been the source of much controversy since its release. The stand-up features several transphobic punchlines and even led to one trans Netflix employee resigning from the company.

See the full list of 2022 Grammy nominations here.

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

Sure, Forza Horizon 5 might have just come out (and is even free on Xbox Game Pass), but can you really ever have too many fantastic racing games to play? We here at UPROXX Edge certainly don’t think so which is why we decided to dedicate an entire episode of Recon to all of our favorite racing games, from the ones we spent far too much money on at the arcade to good ol’ fashioned Mario Kart.

Smosh cast member and first-time co-host Noah Grossman joins me for this fast and furious episode, and we couldn’t be more excited to kick things into high gear to talk about one of the most exhilarating video game genres around. The conversation begins with us taking a look back at our time spent in arcades playing hit titles like Cruisin’ USA and Crazy Taxi before pivoting to the next adrenaline-pumping chapter in racing game history: when so many of those great games hit home consoles. We dive into Gran Turismo, Need for Speed, and countless others (Twisted Metal, anyone?) and all the other games that made at-home play every bit as fun as shoving quarters into a hulking arcade cabinet.

But what fun are racing games without just a bit of the nonsensical added in there?

Enter the kart racers, furry and family-friendly racing games packed with your favorite characters, colorful courses, and silly support items that can completely change the way a race plays out. From Diddy Kong Racing to Crash Team Racing, many of these are among the first racing games we fell in love with and are still taken by to this day. To wrap things up, we jump into all the racing games that take us off the asphalt, like SSX Tricky and Rider’s Republic, before delving into our favorite segment on Recon: What’s New, What’s Next.

So buckle up, gamers, and let’s drive on into today’s episode of UPROXX Recon. And hey, if this show really gets your engine revving or we forgot your favorite, remember you can always leave a comment below!

In a turn of events that will surprise absolutely no one, the CEO of Cyber Ninjas, the auditing company that Trump used to oversee a recount in Arizona, is now reportedly in debt to the tune of $2 million.

Via VICE, Doug Logan, who’s in charge of the Florida-based company that Arizona’s Republican-controlled Senate picked to head up a recount in Maricopa County, is now claiming the process left him bankrupt. The audit took five months to complete and was heavily supported by voter fraud conspiracy theorists and MAGA followers. Despite Logan’s company having no experience in auditing elections — and no legal authority to challenge the results should they find evidence of a bad count — Republicans initially backed the organization’s efforts, covering the costs of renting the venue for the recount and providing around-the-clock security. Logan was able to raise even more money from Trump supporters who donated nearly $6 million to the effort.

Despite all this, he’s now saying that he’s $2 million in the hole, telling misinformation spreader Nick Moseder that he has no other means of income. Moseder revealed all this on his Telegram channel while saying, “I believe he was anticipating more audits to make up for his losses and kept being reassured, ‘don’t worry about the money, America has your back.’”

He went on to try to garner sympathy for Logan, who just celebrated the birth of his 12th child. “I personally think it’s a tragedy that Doug Logan sacrificed months with his pregnant wife and 11 kids (now 12) to put his business and reputation on the line,” Moseder wrote. “All of that work, risk, and sacrifice to have come out the other side being called a traitor, and to be 2.1 million dollars in debt, with a business whose reputation will forever be branded ‘right-wing conspiracy company.’”

You know what might have saved him a lot of grief? Not operating a right-wing conspiracy company and trying to reverse the results of an already-certified election.

(Via VICE)