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‘Stranger Things’ Season 4 Will Help Set Up The Show’s ‘Definite Ending,’ According To David Harbour

While promoting his pandemic-delayed debut as Red Guardian in Marvel’s Black Widow, David Harbour opened up about the heavily anticipated return of Stranger Things. While Season 4 probably won’t make its debut until early 2022, fans can’t wait to see where the show goes next, and Harbour definitely knows how to work that crowd.

According to the Chief Hopper actor, Stranger Things Season 4 is his “favorite season,” and he’s very excited that the ’80s-infused horror/sci-fi series will finally start working towards its endgame. Via Collider:

“I mean, it’s bigger, that’s the first thing. In scope, in scale, even in the idea that we’re not in Hawkins anymore. We, locale-wise, we’re bigger. We’re introducing new stuff, but we’re also tightening and wrapping up in a certain direction to make it have a clear, clean specific, and definite ending at some point, which I can’t really talk about.”

Despite Harbour’s character seemingly dying at the end of Season 3, the cat’s completely out of the bag that he survived, and the actor has developed a penchant for equating Chief Hopper’s return with the legendary resurrection of Gandalf in The Lord of the Rings.

“We were always interested in that idea of the Gandalf resurrection – Gandalf the Grey who fights the Balrog and then becomes Gandalf the White,” Harbour told Total Film back in September 2020. “It’s the idea of the resurrection of the character. And mythologically, Hopper, in a sense, had to change. I mean, you couldn’t go on the way he was going on. He has to resurrect in some way.”

(Via Collider)

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A Door In ‘Call Of Duty: Warzone’ Is Racking Up Kills Thanks To A Hilarious (And Frustrating) Glitch

On a technical level there are few things as impressive as a battle royale map in a video game. It needs to be large enough to support typically 100 players, if not more, all at once. This means that objects can’t be hidden behind loading points, or that areas can’t just appear once the player gets close enough, because players are spread out everywhere on a map. Not to mention the amount of stress this puts on servers. With so much going on it’s no surprise that sometimes parts of the map are going to break, or that glitches are going to be discovered. It’s just part of the experience.

All of that said, this recent glitch discovered in Call of Duty: Warzone might be the weirdest one. There’s a door in Karst Salt Mine that upon entry will immediately send a player into a bleeding out state. If the player is in a group then they can be revived, but if they’re by themselves it’s an auto loss. Via Reddit.

As the video above shows, the door will knock down anyone no matter their current health. So you can be at full health, with all the armor in the world, and that door will still put you to the ground. An impressive display of power from our new door overlords.

Obviously, the doors are finally revolting against the players of Battle Royale’s that have abused them for so long. We’ve used them for cover as we’ve been shot, kicked them open while we enter rooms, and shown a total disregard for door safety. Now they’re fighting back and we must hope this stays contained to Call of Duty and none of our other games. If the doors in other franchises hear of this they may too revolt. If that happens, then God help us all.

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Get Out The Paint: The Story Behind NBA Twitter’s Most Artistic Account

If you’ve been in or around NBA Twitter since December 2020 then you’ve probably had the experience of being watched. There you are, minding your own business, having a hard time remembering what highlight you just zoned out watching when two beady little eyes stop you mid-scroll. You pause, instantly caught, and scroll slowly down to reveal an oblong, pixelated body awash in crayon-bright primary colors, or maybe an ice cube tray wearing a Hawks jersey, a cantaloupe with a headband on, or a sentient slice of cherry pie with legs, but whatever you land on you can be sure is smiling guilelessly back at the mirror expression now playing across your own face. You aren’t seismically changed, but you’re happier than you were a second ago.

“I love making everyone smile on the drawings,” NBA Paint (well, the person behind NBA Paint, who asked to remain anonymous) says over Zoom. “Like, they all have this blank eye little smile expression. There’s probably like, 10 drawings I’ve done where the faces are either frowns, or straight-line face.”

NBA Paint created their Twitter account in early December, posting drawings sprung from inside jokes initially conceived in their fantasy basketball group to a handful of followers mostly from their fantasy basketball group. But the plucky, unabashedly cheerful drawings soon drew engagement from fan accounts, including the occasionally mercurial Aron Baynes Fan Club with its nearly 70k followers, and “it started to pick up a ton of speed.”

“It kind of hurled it into this space where all of a sudden I went from having, like, 10 followers that were close friends of mine, to a couple of hundred,” NBA Paint says. “When I began to notice like, alright, maybe I shouldn’t do them all on my phone. It was getting a little exhausting, hunching over.”

There are now nearing 50k engaged followers awaiting each day’s drawing, illustrations that range from cute to knowingly hammy phonetic twists on players names, interpretations of that day’s (or hour’s) big story, and most recently, reimagined game highlights.

“If you look back at the first drawings I’ve ever done in NBA Paint, I was actually using Microsoft Paint browser on Safari on my phone. So I was drawing them all just with my finger on the phone. You can see I’m not really connecting all the lines and they’re coming out really choppy, but that was kind of my initial intention.”

It’s the pared down, deceptively simple style that lends an immediate sense of connection to each drawing that NBA Paint does. Part of that is appreciation of the medium itself.

“I feel like everyone past the age of 25 has dabbled in Microsoft Paint at some point when they’ve run out of wifi or internet, or [were] on dial-up and they got kicked off the internet and they either had the option of messing around in Microsoft Paint, or playing that pinball game,” NBA Paint laughs. “So I feel like they get that sense of nostalgia from both of those aspects.”

Aside from technical recognition, there’s an in-on-the-joke literalism that comes across in every illustration. If you’re an active patron of the NBA’s unique theatre of drama and intrigue you’ll recognize its ongoing storylines and if you’re not, you’ll probably still get the obvious breakdowns of player names to phonetically assigned animal, plant or mineral. And regardless of which category you fall into, there’s the underlying current of how an instantaneous, irreverent platform like Twitter has created a short-hand, hive-mind sense of humor. You kind of just need to glance at the chubby, smiling little stick person to get it.

“I’ve been on Twitter a long time and am pretty obsessed with it, and feel like a lot of my humor and things I like have been developed from, overall, how Twitter feels about things,” NBA Paint says of how the drawings’ mode of delivery has shaped their ideation, and later their evolution. “Definitely for the first couple of videos, or the first video ever, I was like, ‘Wait, I can — cause I was just dragging around something — I can just record my screen and make Zion doing a dunk, and record that.’ And it would look pretty funny cause it’s so obviously bad, but it’s so bad that it’s pretty good.”

The ideas for the drawings themselves largely come from the brain of their creator, others come from a steady stream of requests (“I always feel a little bad about that, people actually think that I’m out there not giving them credit, I try to give credit where credit’s due”), but once an “idea is settled, it probably takes 15 to 20 minutes max on my standard ones,” NBA Paint says. “The videos take a little longer. But again, the videos aren’t necessarily more complex. It’s just, I’m drawing an extra guy or two. And then I drag them around and edit the video.”

The NBA Paint universe has grown so large that it’s become self referential. There is the tender spin on the “Are Ya Winning, Son?” meme, with a diminutive Doc Rivers walking in, play in hand, on a sunnily determined Seth Curry has been reshared every Sixers playoff game, a cameo on the StatMuse account, and a drawing of Devin Booker as a book that was recently rejigged upon commentary by CJ McCollum and that Booker then posted in a slideshow that also included photos his girlfriend, Kendall Jenner, on Instagram.

“When I created the account, I never would have thought that a player would one, even like something, but two, retweet it or post it on their own social media, and share it with literally their entire following,” NBA Paint says a little dreamily.

Even though the account has now done official collaborations with the Portland Trail Blazers and NBA All-Star, and has fans in Jarrett Allen, CJ McCollum and Enes Kanter among others, NBA Paint says every time a player finds, likes, or shares their work, “I still get blown away.”

For the most part, NBA Twitter and the NBA share a balanced symbiotic relationship, but there are times when the cycle begins to feel especially claustrophobic, if not outright draining. An echo chamber of takes, a cursed infinity loop forever missing the larger point, every single media outlet screaming the same pull quote in unison — if only there were an innocuous wedge to shove into the feed and disrupt the cycle. Oh, wait.

“Recently, I’ve been focusing on timely moments where I’ll hop on Twitter that day and see in the morning, accounts like SportsCenter or ESPN talking about, like it’s been two years since Kawhi Leonard hit the shot. And your whole feed is just filled up with the same exact footage of Leonard hitting the shot, and it builds up and builds up ‘cause all these other sports accounts are like, ‘Oh, we got to tweet this out,’” NBA Paint says of the déjà vu timeline. “I want to mix it up a little bit so that all of a sudden, it’s the same six shots, but now on the seventh one you’re hit with this really poorly done rendition of Leonard hitting the shot and it’s a little exaggerated.”

Like anything the account does, poking fun at sports media’s race for takes and perpetual feedback loop comes across as a friendly nudge than anything more critical, and they use the same approach with fans. NBA Paint — the account — doesn’t align itself with any particular team or player (the person behind the account does, but like their identity that allegiance stays confidential), in keeping neutral they provide a kind of easy, noncombatant online reprieve.

“It’s nice to, especially in a time where your Twitter feed can be so aggressive, have something out that’s like zero controversy behind it,” NBA Paint says of their safe space designation. “People will comment that a lot. Like this is so refreshing on Twitter, which I totally get because I guess I feel the same way when I make it.”

“It doesn’t feel like work, and people ask me all the time, are you tired? I basically post once a day, or do one drawing a day, since December, and that was five months ago,” NBA Paint says. “I get the same sense of enjoyment and like it’s kind of therapeutical slash relaxing to do it while I’m watching a game, and just like go into the zone and draw something out. It’s just like my whole life I’ve been doodling and it’s kinda just like doodling. I can turn my brain off and create this drawing and put it out into space.”

In terms of what’s next, the main goal of NBA Paint is to stay as “accessible as possible” while sticking true to their image. They have a web shop they “slowed down on” because their love for vintage t-shirts made it too difficult to find the right quality of shirt to use, initially going through 12 different mock-ups before landing on what’s currently in use, and a tentative dip into NFTs felt prohibitive given that only “0.05% of my audience can afford something like that”.

They admit that a dream collaboration would be with Nike or “it could be Crocs,” where a tiny, specific brand of shoe would be drawn carefully onto the sticked foot of each drawing they do over a period of time, or how fun it would be to collaborate with any of the sports media outlets they diligently follow and engage with writers of, to create digital art for stories, not necessarily specific to the NBA.

“I don’t want people to think that I’m just in this for the money, cause I’m not. I’m in it cause I love the sport and I have a great time drawing,” NBA Paint says. “My number one goal is just continue pushing growth, get this out to as many people as possible, because I think from hearing stories of people sharing it with their friends or their girlfriends or boyfriends or their family, and I would get like DMs of dad sharing it with their kids, and they’re like, ‘Yeah, we send each other’s drawings every day.’ It’s hilarious. [It] just like makes my day reading stuff like that.”

Asked about what made them love basketball and NBA Paint says it was the phenomena of Linsanity, and seeing a player who was then largely unknown “completely electrify the world”, that really turned them into a “diehard fan”.

“All of a sudden he can get hot and go off and have this huge movement that not only affects fans of his team, but inspires people all the way across the world,” NBA Paint recalls. “I was like, alright, basketball is pretty cool.”

That feeling evolved into an affinity for underdog stories, like the Fred VanVleets or Duncan Robinsons, players that come to encapsulate more than just the game played on court, but triumphant stories, human stories, overall.

Though not at the same scale, it isn’t difficult to draw parallels between those long shot, darkhorse stories that inspire and the small, smiling, and unflagging stick person that’s become the quick and central characteristic of NBA Paint. We all want to believe we’ll never find a mountain too high, and NBA Paint’s drawings, inanimate objects with facial expressions or not, make it feel like when staring up at something potentially insurmountable, the bravest face is always going to be a smiling one.

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Seth Rogen Detailed How Eddie Griffin Went On An Anti-Semitic Rant During An Elevator Ride

Though he only appeared in one film over the course of the pandemic, Seth Rogen has nevertheless somehow managed to be one of the busiest guys in Hollywood during quarantine. He has continued to operate traditionally within the industry, producing and starring in Pam and Tommy while playing the guy who stole Tommy Lee and Pamela Anderson’s sex tape, but he’s also launched a wildly successful weed company and written Yearbook, an autobiographical series of essays.

I read the book this week in two quick sittings (it’s not only incredibly entertaining, it’s also short), and among the highlights was a story about his first encounter with Snoop Dog, a story about the time Tom Cruise tried to pitch Rogen and Judd Apatow on Scientology, a bizarre a dinner with Nic Cage, and the time George Lucas warned Rogen that the world would end in 2012 but refused to offer Rogen space in his post-apocalyptic bunker.

One funny and incredibly depressing story from the book that I haven’t seen as discussed outside the memoir (and a 2014 Seth Rogen tweet) was the time that comedian Eddie Griffin went on an anti-Semitic rant in an elevator with Rogen and Jonah Hill.

“I’m glad I saw you guys,” Griffin said to Rogen and Hill in a Las Vegas elevator. “I saw your movie. The high school movie,” Griffin continued. “I’ve been trying to make a movie for a while now, but no one will make it. But they made yours. And you know why?” he asked.

“No, why?” Rogen responded.

“Because I’m Black, and you’re Jewish, motherf***ers.”

Rogen said that he and Jonah Hill awkwardly laughed, thinking it was some sort of terrible joke. “Oh yeah, what do you mean by that?” Rogen asked.

“I mean, you Jewish motherf***ers run Hollywood, and you only make movies with other Jewish motherf***ers.”

“Oh,” Rogen remembers thinking. “This isn’t a joke. This dude is just going on some anti-Semitic tirade.”

“Sorry, I guess?” Jonah Hill said, trying to make a joke. Griffin, however, did not pick up on the fact that Hill was trying to let him off the hook.

“Don’t be sorry,” Griffin implored. “Tell your Jews to let other people make some movies.”

After the elevator ride, Rogen said that he and Hill tried to process what had just happened. “It’s insane because he’s ignoring the fact that if there’s one thing the Jewish people are not above, it’s making money producing things that are fronted by Black people. Anyone who has ever seen a biopic of a Black musician knows the character I’m talking about, and he’s usually very appropriately played by my dear friend David Krumholtz.”

Rogen, by the way, told this story during the same chapter where he recounts his frustrating attempt to convince Twitter CEO Jack Dorsey to do something about the white supremacists who continue to run rampant on Twitter.

Seth Rogen’s Yearbook is terrific and it’s currently available wherever you get your books.

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Mark Ronson Discusses Being A Workaholic: ‘It’s Almost Like Being An Addict’

Mark Ronson has been one of the busiest folks in the music industry over the past couple decades, and it turns out part of the reason for that is because Ronson is a self-admitted workaholic. On a recent episode of the Out Of Office With Rick Kleinman podcast, he discussed how his mentality towards work became problematic for him.

He spoke about how therapy has been beneficial in helping him develop healthier work habits, saying (as NME notes):

“It’s almost like being an addict. It’s hard to let go of something that’s been a positive reinforcement, but at some point, if you want stability and balance in your life, you have to learn to let go. It took me a really long time to figure it out. I’m grateful the person I’m with now is just so fantastic and whatever had to happen to me to get to this point in life, I’m okay with.

Looking back on it, if you go to a lot of therapy to unpack this stuff, which I have done in the later period of my life, well, those workaholic tendencies became my best friend and my worst enemy at the same time. Because there’s positive reinforcement for being a workaholic too, but I was also using it to run from sh*t. I was definitely using it because it was a crutch at times.”

Ronson has still been busy. Over the past few months, he announced a new Apple TV+ series, dropped a new Silk City song, and produced a Kacey Musgraves-featuring Troye Sivan remix.

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Def Jam Reportedly Paid Over $35K For DMX’s Funeral

After DMX passed in April, the late rapper was given a hero’s sendoff, complete with a monster truck to carry his casket to the touching memorial service at Brooklyn’s Barclays Center arena which included a soulful medley performed by Kanye West’s Sunday Service choir and a tender rendition of DMX’s song “Slippin” performed by his daughter.

TMZ reports that according to probate documents for the rapper’s estate, the costs for the extravagant memorial were footed by DMX’s label, Def Jam, where he released many of his groundbreaking early works and returned to record what turned out to be his final album Exodus, which was released posthumously. According to TMZ, the total paid out by the label for the funeral costs came out to $35,228.13, including $7,450 for DMX’s custom casket.

DMX died in April following an overdose that left him comatose for the better part of a week. He was 50. In the wake of his passing, seven of his singles were certified gold or platinum and a number of his peers and contemporaries shared their admiration for him, including Lil Wayne, who said he was “infatuated” with DMX, Swizz Beatz, who gave an impassioned speech at DMX’s funeral, and Jay-Z, who fondly recalled boycotting the 1999 Grammys after he believed X was snubbed and being intimidated to perform after him during their shared Hard Knock Life tour.

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James Michael Tyler, Who Played Gunther On ‘Friends,’ Has Stage 4 Prostate Cancer That’s Going To ‘Probably Get Me’

James Michael Tyler, the actor best known for playing Central Perk manager Gunther during all 10 seasons of Friends, revealed that he has stage four prostate cancer. He broke the news on Monday’s episode of the Today show, where he said that he’s been “dealing with that diagnosis for almost the past three years… It’s stage 4 [now], late-stage cancer. So eventually, you know, it’s going to probably get me”:

He was told during a routine physical that he had advanced prostate cancer that had spread to his bones. He was then placed on a hormone therapy that “worked amazingly” for a year or so. But “right at the time of the pandemic” last year, Tyler explained to the outlet, the cancer “progressed” and spread throughout his body, affecting his spine, which led to paralysis of his lower body. He is currently undergoing chemotherapy.

Michael Tyler originally planned to make an in-person appearance during HBO Max’s much-watched Friends reunion and “be on the stage, at least, with them, and be able to take part in all the festivities.” But he decided to make a virtual cameo instead. “It was bittersweet, honestly. I was very happy to be included. It was my decision not to be a part of that physically and make an appearance on Zoom, basically, because I didn’t wanna bring a downer on it, you know?” he explained. “I didn’t want to be like, ‘Oh, and by the way, Gunther has cancer.’”

Michael Tyler went on Today in an attempt to “help save at least one life by coming out with this news” and encourage men to get a PSA screening. “A lot of men, if they catch this early, it’s easily treatable. I don’t want people to have to go through what I’ve been going through,” he said. “This is not … an easy process.”

(Via People)

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Trump Reportedly Proposed Sending COVID-Infected Americans To Guantanamo Bay

Unless you’re a QAnon devotee, there’s no denying that the pandemic was the nail in the coffin for Donald Trump‘s chances for reelection. From downplaying the severity of the coronavirus to backing Republican states who repeatedly bucked CDC guidelines and reopened too early, which helped cause deadly surges over the holidays, Trump’s bumbling response to the health crisis undoubtedly played a huge factor in his defeat to Joe Biden. But, apparently, things could’ve been much worse.

According to Nightmare Scenario: Inside the Trump Administration’s Response to the Pandemic That Changed History, a new book from reporters Yasmeen Abutaleb and Damian Paletta, there was a constant internal battle to control Trump’s “worst instincts” as it became clear that the pandemic was coming to U.S. soil. Reportedly, one of those instincts was to ship COVID patients to the Guantanamo Bay prison island to keep America’s case numbers low. Via Washington Post:

In the early days of the coronavirus pandemic, as White House officials debated whether to bring infected Americans home for care, President Donald Trump suggested his own plan for where to send them, eager to suppress the numbers on U.S. soil.

“Don’t we have an island that we own?” the president reportedly asked those assembled in the Situation Room in February 2020, before the U.S. outbreak would explode. “What about Guantánamo?”

Considering Guantanamo Bay (a.k.a. Gitmo) has been the site of numerous human rights violations stretching back to the Bush Administration, shipping COVID patients to the island would’ve been a recipe for disaster, not to mention ultimately futile, as the virus was already in America by February at the latest. The Trump Administration also resisted the restriction international travel, which only made matters worse.

(Via Washington Post)

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All The Best New Music From This Week That You Need To Hear

Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.

This week saw DaBaby ball strictly on his terms and Gucci Mane and Lil Uzi Vert both attain it. Yeah, it was a great week for new music. Check out the highlights below.

For more music recommendations, check out our Listen To This section, as well as our Indie Mixtape and Pop Life newsletters.

DaBaby — “Ball If I Want To”

DaBaby’s famously beaming smile suggests confidence, and his music confirms it. That’s true of his latest single, “Ball If I Want To,” which only runs for a couple minutes but manages to pack a lot of boasts and dismissals into that brief runtime.

Gucci Mane — “I Got It” Feat. Lil Uzi Vert

By his standards, Gucci Mane has been on a quiet stretch in terms of album releases; His most recent, Woptober II, just dropped in 2019, but that came after releasing at least one album a year since 2016. He made his return last week, though, with Ice Daddy, which was highlighted by collaborations like the Lil Uzi Vert joint effort “I Got It,” as well as songs with Lil Baby, Pooh Shiesty, and 2 Chainz.

HER — “My Own”

HER just dropped her latest album, Back Of My Mind, and it features folks like Ty Dolla Sign, Lil Baby, and DJ Khaled. With her final pre-album single, though, she decided to show confidence in herself by sharing the feature-free (and therefore appropriately titled) “My Own,” a subdued number that lets her vocals carry the load.

The Killers — “Dustland” Feat. Bruce Springsteen

Fans of The Killers have a lot to look forward to right now, as they appear to have two mostly finished albums in their release queue. You don’t even have to look ahead for something new from Brandon Flowers and company, though, as last week, they came out with an unusual sort of release: Killers admirer Bruce Springsteen joined the band for “Dustland,” a reinterpretation of The Boss’ favorite Killers track, “A Dustland Fairytale.”

Don Toliver — “Drugs N Hella Melodies” Feat. Kali Uchis

After making his ascent thanks in part to some key features (like on Travis Scott’s Astroworld, for example), Toliver is prepping L.O.A.D (Life Of A Don) for release in July. His latest preview of that effort is “Drugs N Hella Melodies,” a smooth one that features Kali Uchis and come accompanied by an appropriately intimate video.

Migos — “How We Coming”

Culture III took a few years to arrive, but the album’s deluxe edition took just a few days, as has become the norm over the past couple years. While rapid-fire deluxe editions often serve as an opportunity to add more featured guests to an album, Migos went at the five bonus tracks on their own (although Murda Beatz provides production on “How We Coming”).

Leon Bridges — “Why Don’t You Touch Me”

After blessing 2018 with Good Thing, Leon Bridges is returning with his third album, Gold-Diggers Sound, next month. He previously insisted it’s his “most personal album yet,” and it’s clear to see why he feels that way with “Why Don’t You Touch Me.” His latest is a mournful track that sees Bridges lamenting a relationship he knows is reaching its end.

Vince Staples — “Law Of Averages”

It’s been about three years since Staples dropped FM!, and after a bit of a wait, he has a pair of projects, Ramona Park Broke My Heart and Vince Staples, on the way. He previewed one of those projects last week with “Law Of Averages,” which sees Staples busting out some reserved bars over soulful production.

Tate McRae and Khalid — “Working”

We recently dubbed Tate McRae a rising pop star to keep an eye on this year, and she has made a fine case for inclusion on that list. For example, her latest output is a collaboration with R&B favorite Khalid. Together, the pair present “Working,” an upbeat tune that borrows from both artist’s primary genres for a bouncy time.

Olivia Rodrigo — “The Rose Song”

Congratulations are in order for Olivia Rodrigo, who recently became a high school graduate. She hasn’t graduated from High School Musical: The Musical: The Series, though, which is a blessing for Rodrigo fans, as new songs from the pop star continue to emerge from the series. The latest is “The Rose Song,” an emotional piano ballad that she thinks is “one of the best songs [she’s] written.”

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

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Bo Burnham Has His First Top-10 Album With The ‘Inside (The Songs)’ Soundtrack

Bo Burnham, being one of the more successful comedians of the past decade-plus, has a rich history on the Billboard charts. All of his full-length audio releases — 2009’s Bo Burnham, 2010’s Words Words Words, 2013’s What, and the new Inside (The Songs) — have topped the Comedy Albums chart. He’s made some appearances on the all-genre Billboard 200 chart as well: Bo Burnham and Words Words Words topped out at Nos. 105 and 40, respectively.

Now, though, Inside (The Songs) — the soundtrack album for his Netflix special Inside — has achieved a new milestone for Burnham. On the Billboard 200 chart dated June 19, the album debuted at No. 116. Meanwhile, on the latest chart (dated June 26), the album has risen all the way up to No. 7, making it Burnham’s first top-10 album and therefore the highest-charting of his career.

Burnham hasn’t released any official singles from the album, but some songs from it are doing well on international charts. “Look Who’s Inside Again,” “Welcome To The Internet,” and “All Eyes On Me” have all made it onto the UK and Ireland charts, while those tracks plus “Goodbye” are all top-30 on the New Zealand chart.

Check out a few highlights from the special/album — “Welcome To The Internet,” “White Woman’s Instagram,” and “All Eyes On Me” — below.