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Marvel Studios: Assembled:: Season 1 The Making of Loki (Disney+ series, releasing in the wee hours of Wednesday morning) — This immersive documentary-type series brings us a fresh installment to help us feel a little bit better about having to wait for Season 2 of all of the Lokis and their mercurial pursuit of the glorious purpose. Tom Hiddleston has an absolute blast playing the MCU’s trickster god, and hopefully, we’ll hear more about that crushing moment and the new big bad cruising into Phase 4. This is the best Disney+ show so far, and Loki’s so beloved that you might binge the whole season all over again.

Miracle Workers: Oregon Trail: TBS, 10:30 pm) — Season 3 of this anthology series continues in 1844, when an idealistic preacher (Daniel Radcliffe) must join forces with a wanted outlaw (Steve Buscemi) as they set off on the eponymous trail by wagon. TBS suggests that the promise and peril that they encounter might remind us of our own times. This week, there are somehow hipster pioneers, along with a moral struggle for the group’s very soul.

Motherland: Fort Salem: Season 2 (Freeform, 10:00pm) — In this world, witches not only enlist in the U.S. Army, but they also use their spells to rule the world and take down terrorists, who are (in turn) hell-bent upon getting witches out of the military. This week, the Unit might commune with the dead if all goes well, and there’s a Halloween gala going down, too.

The Flash (CW, 8:00pm) — The Flash enlists present and future allies (including his kids?) in a bid to end the speedster war and his latest deadly adversary.

Superman & Lois (CW, 9:00pm) — Lois and Chrissy team up on a story while Jonathan is distracted, and Superman’s heading to Morgan Edge.

The Tonight Show With Jimmy Fallon — Jonas Brothers, Zoe Lister-Jones

Late Night With Seth Meyers — Kristin Chenoweth, Tim Robinson, Simon Rich, Taku Hirano

If you’ve been busy making your way through the rapidly expanding breakfast menu at your favorite fast food restaurant, you might’ve missed the fact that plant-based meats are also slowly taking over the fast food universe. From plant-based burgers to fake chicken chalupas, most fast food joints out there are racing to give classic menu items a plant-based spin. Some of these new innovations are delicious, like Panda Express’ new Plant-based Orange Chicken.

Others, like Little Caesars plant-based pepperoni pizza, need some work.

You may be thinking, “Pizza doesn’t need plant-based meat!” and I’m right there with you. There are plenty of toppings that can make for a great pie, from bell peppers and onions to pineapple, jalapeños, and even just plain cheese. The classic Italian Pizza Margherita is vegetarian, after all.

The problem is, none of those toppings supply very much protein and many pizza eaters are conditioned to favor meat-based umami flavor notes — which is why Little Caesars teamed up with Field Roast to give us the Planteroni Pizza. Available now in stores across Los Angeles, New York City, Miami, San Francisco, Portland, and Detroit, the Planteroni promises the taste of “zesty pepperoni” but is made with pea protein. To see how the new fake meat stacks up, we tested this new product.

Planteroni Pizza

Price: $8.49 (regular sized pizza)

Tasting Notes

Earlier I alluded to the Planteroni having some work to do. But it’s not that I think this pea protein-based pepperoni tastes bad — it doesn’t. But Little Caesar’s Planteroni fails to deliver what makes pepperoni such an addicting topping on pizza: the grease. As you can tell from the photo above, there is something dry and incredibly anemic about this pizza topping, it looks more like a drawing of a pizza than an actual thing you’re supposed to eat.

Pepperoni works as a topping for three reasons:

1. It’s got an almost spicy peppery bite to it.
2. It features a crispy crunchy edge that toasts up in an oven perfectly.
3. It leaks just the right amount of grease onto your pizza to add an extra bit of salty goodness.

The Planteroni has none of these qualities. Does it taste like pepperoni? Sort of. It definitely has a “zesty grab-bag of spices” flavor to it. I can taste some black pepper, paprika, and fennel seed… but the texture is so wrong it’s distracting.

This plant-based pepperoni is also too thick, it doesn’t flip up on the edges in the way that oven-baked pepperoni should. Instead, it just lies there flat like someone scattered some wood chips on a perfectly good cheese pizza. Where regular pepperoni tears so easily in your mouth that you don’t even think about it, you’re going to find yourself chewing this topping so long it’s all you can think about. I’m not sure if that’s because of the pea protein it’s made of, or because it’s just cut way too thick.

My guess is that it’s a little of both and Little Caesar’s probably can’t cut it any thinner, as the pea protein structure will probably just crumble. (Vegan cured meats are tough to create — as we found out earlier this month.) Luckily, if you’re sold on adding plant-based protein to your pizza, I think there is a logical fix for the problems I’ve had with this pizza.

The Bottom Line:

If you’re a pepperoni lover and you’re looking for a plant-based alternative that will keep you away from animal-based products, this just isn’t it. It looks like pepperoni, and kind of tastes like it, but it doesn’t do for a pizza what the mighty pepperoni does.

Pro Tip:

My advice is to order this not as a single topping on your pizza, but alongside some of your other favorites. Grabbing a pizza with Planteroni, bell peppers, and jalapeños will make for a good and flavorful pie and in that sort of situation, you likely won’t miss the pepperoni. But if you’re grabbing a one-topping Planteroni and hoping to land in the ballpark of a regular pepperoni pizza, you won’t be satisfied.

Find your nearest Little Caesars here.

Nneka Ogwumike and Elizabeth Williams won’t play for Team Nigeria in the 2020 Tokyo Olympics after their appeal was denied by the Court of Arbitration for Sport on Monday, according to ESPN. Last week, the WNBA stars were notified by FIBA that their petition to play for Nigeria was denied because they’d played for USA Basketball for too long. Typically, FIBA does not allow players who’ve competed for USA in major events past the age of 17 to compete for another country. The ruling came despite USA Basketball releasing both Ogwumike and Williams upon request.

Williams played for the Americans in 2018 FIBA AmeriCup, and Ogwumike won MVP in the 2020 FIBA Olympic Qualifying Tournament. Ogwumike’s sister, Chiney, has been granted permission to play for Nigeria as a naturalized player, though her appeal to be recognized as a Nigerian, like their sister Erica, was denied. Each country is only allowed one naturalized player.

Ogwumike and Williams’ omission from Team Nigeria’s roster is heartbreaking for both athletes, but Nneka Ogwumike has had an especially tough summer. After suffering a knee sprain in June, she was cut from the American Olympic roster despite assurance she’d heal in time. She’d competed for Team USA in numerous FIBA World Cups dating back to the U18 2008 team, and was one of eight WNBA players selected to compete against top-10 college programs in 2019. Ogwumike is the only WNBA MVP to not play in the Olympics, and with her effort to play for Nigeria in Tokyo denied, the 31-year-old have to wait another three years.

Williams played in Team Nigeria’s exhibition game against Team USA on Sunday as she awaited the result of her appeal, scoring four points with four rebounds, one assist, two steals, and one block in 29 minutes. Nneka and Chiney Ogwumike did not play in the 93-62 defeat.

After the game, Team Nigeria head coach Otis Hughley made a statement for why the duo should be allowed to play. “Allow them the opportunity to help grow the game,” Hughley said, according to ESPN. “That continent would just be turned on its head for basketball, in a good way. You have no idea how many lives would be impacted and changed for the ages.”

Unfortunately, FIBA and the Court of Arbitration for Sport wouldn’t let it happen.

For over a hundred years, the Hollywood Bowl has been a mecca of arts and entertainment in Los Angeles. Proudly evolving through years of renovations and technological developments, the Bowl has been at the heart of live gatherings in this city for several lifetimes, which is what made its unexpected dormancy in 2020 hit particularly hard for music lovers. Particularly for the season ticket holders, who faithfully attend the LA Philharmonic performances, the chance to get out and about for an evening is also about being part of a community who equally value local artists of all levels. Which is why heading to the Bowl was a return to form for plenty of attendees this past weekend, and not just to see the orchestra, or a fledgling artist on the rise, but to watch a full-on pop star, Christina Aguilera, grace the stage in all her glory.

But this was not a seductive pop show by any means. Backup dancers did flank Aguilera from time to time throughout the fifteen song set, and she brought a level of pomp to the stage that only a global icon can, but the emphasis on her connection with conductor Gustavo Dudamel and his orchestra was the continual focus. Well, that, and her flawless, unshakeable voice, as she is easily one of the best vocalists of our era, no matter what style of production she’s singing over. Catering to a crowd of loyal LA arts supporters, and a cadre of fans who grew up on her music, but aren’t necessarily young themselves (anymore), Christina was a poised veteran claiming the spotlight that’s rightfully hers.

Clad in a black pantsuit with full-length sleeves and shoulder pads, Xtina – as fans have lovingly dubbed her, to the point that it’s her username on social media — dressed the modest outfit up and down with diamond collars, feather boas, and at one point, a black tulle skirt so enormous it took four or five helpers to lift and carry it when she needed to move. Her versatile yet subdued aesthetic was something of a foil for the song selection, which spanned plenty of her hits, reimagined as many were for the orchestral accompaniment, but dipped into deeper cuts, too.

At 40, plenty of pop stars from her generation have burned out and faded away, unable or unwilling to draw arena-sized crowds for not one but two nights in a row. Her answer, at least this weekend, is to pivot to a more refined take on her early hits and massive singles, shaping and slowing them into sweeping tunes that better suited an orchestra. Though, it didn’t take a lot of tinkering, since Aguilera has always favored emotional balladry throughout her discography. Kicking off the night with the timeless jazz standard “At Last,” leading into her own “Ain’t No Other Man,” she headed directly into one of her best-known hits “Genie In A Bottle,” where the orchestra’s presence was particularly felt.

Changing up the tempo for “Can’t Hold Us Down,” perhaps to inject a bit of speed into a slower night, and joined by the single guest of the night, Ian Axel of A Great Big World for their 2013 collaboration “Say Something,” the show was mostly pure Xtina. She alluded to the impact musicals and composers have always had on her style, citing her mother’s love for playing the violin, alongside The Sound Of Music, Danny Elfman, and Tim Burton as early influences. Throwing in another classic cover that she’s more than made her own, “It’s A Man’s World,” (complete with feather boa), other obvious standouts were her massive, defining hits like “Dirrty” and “Fighter,” which both benefited from the orchestra instead of being bogged down by it.

On five songs the orchestra stayed silent, letting Aguilera and her dancers dominate the vibe on an excellent mashup of “Xpress” and “Lady Marmalade” – which might’ve been the most boisterous moment of the night — as well as the late set crowd-pleaser, “What A Girl Wants,” which was also reimagined, with a reggaeton beat instead, something that probably wouldn’t have worked for mainstream pop back in 2002, but feels seamless now. She had to close out the set with “Beautiful,” as we all knew, which was perhaps the best fusion of the two musical worlds throughout the whole set, summing up exactly why she was a good choice for the challenge of marrying pop appeal and orchestral gravitas.

And, instead of leaving early as the older crowds are sometimes apt to do, nearly all the box-holders and LA Phil loyalists stayed in their seats until the very last note. Now that we’ve experienced the world without the Bowl, an extra half hour is worth its weight in gold — and the wait in the parking lot.

Setlist
“Opening Score”
“At Last/JB Intro/Ain’t No Other Man”
“Genie In A Bottle”
“The Voice Within”
“Peaches/Can’t Hold Us Down” (orchestra tacet)
“Maria”
“Twice” (orchestra tacet)
“Say Something” (Feat. A Great Big World’s Ian Axel)
“Dirrty”
“Xpress/Lady Marmalade” (orchestra tacet)
“Contigo” (orchestra tacet)
“What A Girl Wants” (orchestra tacet)
“It’s A Man’s World”
“Fighter”

Encore:
“Beautiful”

The Tampa Bay Buccaneers were honored by President Joe Biden in a ceremony on the White House lawn Tuesday. The event celebrated their Super Bowl win over the Kansas City Chiefs in February.

In his short speech, quarterback Tom Brady found common ground with president Biden. Brady, 43, was the oldest quarterback to win the Super Bowl, and Biden, 78, is the oldest to ever win the presidency.

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“Personally, it’s nice for me to be back here,” Brady said. “We had a game in Chicago where I forgot what down it was. I lost track of one down in 21 years of playing, and they started calling me ‘Sleepy Tom.’ Why would they do that to me?”

Biden, who was often referred to as “Sleepy Joe” by Donald Trump during the 2020 election, responded with a smile, saying, “I don’t know!”

Brady also noted that the Bucs were such underdogs midway through the season that few people thought they could or did win the title. He jokingly compared that to a large number of Republicans who can’t bring themselves to accept Biden’s victory.

“It didn’t look great there at one point. We were 7-5, struggling a little bit, as the President alluded to. But we found a rhythm, we got on a roll,” Brady said. “Not a lot of people think that we could have won. In fact, I think, about 40 percent of the people still don’t think we won.”

“I understand that,” Biden responded.

“Do you understand that, Mr. President?” Brady replied.

“I understand that,” Biden jokingly confirmed.

NEW: Tom Brady at the White House on the Bucs’ Super Bowl run:

“Not a lot of people think that we could have won.… https://t.co/nViv2SAKfU

— Yahoo News (@YahooNews)
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Brady and coach Bruce Arians’, 68, victory made them the oldest coach-quarterback combo to ever win the Super Bowl.

“Well I’ll tell you right now, you won’t hear any jokes about that from me,” Biden said. “As far as I’m concerned, there’s nothing wrong with being the oldest guy to make it to the mountaintop. That’s how I look at it.”

Brady is a seven-time Super Bowl champion but this is the first visit he’s made the trip to the White House to celebrate since 2005 when George W. Bush was president. He turned down Barack Obama’s invitation in 2015 and Trump’s in 2017.

The Patriots chose as a team not to attend the White House event after winning in 2019.

Why I think this is quite seriously the worst day of Donald Trump’s life https://t.co/kTlj0gVUDx

— Jonathan Chait (@jonathanchait)
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Brady’s relationship with former president Trump has been the source of controversy for years. He’s been friends with Trump since 2001 but distanced himself after he became a polarizing political figure.

“He had a way of connecting with people, and still does. But the whole political aspect came, and I got brought into a lot of those things because it was so polarizing around the election time,” he told Howard Stern last year. “It was uncomfortable to me. You can’t undo things — not that I would undo a friendship — but the political support is totally different than the support of a friend.”

The Buccaneers’ ceremony and the Los Angeles Dodgers’ recent visit to the White House mark a return to normalcy when it comes to athletes visiting the president. The events were contentious in the Trump era and many athletes and teams refused to attend.

Super Bowl LV Champions at the @WhiteHouse 😎 https://t.co/1SRGRcx8yH

— Tampa Bay Buccaneers (@Buccaneers)
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Idles shared their latest LP Ultra Mono back in September, which included the track “Model Village.” They’ve now linked up with their friend and fellow UK musician Slowthai to feature on a new version of the song, which they debuted on a special episode of vocalist Joe Talbot’s Balley TV series.

Talbot’s Balley TV first began as a quarantine entertainment show. The latest episode aired a month before Ultra Mono‘s release but this week, Talbot and his band took over House Of Vans in London to record an hour-long episode with musicians Katy J Pearson, Deep Tan, and Nuha Ruby Ra. They were also joined by Slowthai for a raucous performance of their new “Model Village” track, which injects even more energy into the already lively tune.

Sitting down for an interview with Talbot after their “Model Village” rendition, Slowthai talked about his overarching goals with his music. The rapper said he just hopes to inspire others to be themselves and share their own viewpoints with the world:

“I think the aim of life is that you’re born, you learn, you pass on your knowledge. It’s about sharing, discovering, communicating, and coming together. So my thing is being able to take what I learned and give my opinions and people can either steer me in the right direction or I can change their viewpoint. I think with music, it’s always to spark a discussion. People are people at the end of the day so they’re influenced how they’re influenced. But I think it’s a responsibility to just share my viewpoint and mainly bring some kind of joy, even though a lot of my music is miserable, and help people who are from a less fortunate place or haven’t had the opportunity to see that they can do what they want and be who they want to be. They haven’t got to follow no rules or guidelines on the way the world expects them to be. Be yourself, don’t give a f*ck, and do it with a smile on your face.”

Listen to Idles and Slowthai’s “Model Village” single and watch their performance on Balley TV above. Pre-order a 7-inch vinyl copy of the song here.

If you’ve ever thought Game of Thrones‘ “Battle of Blackwater” would be more enjoyable to watch on your phone with 63 of your closest friends and Bitmojis galore, you might soon be able to do just that. As of Tuesday, July 20, HBO Max has become the first major streaming service to bring full-length episodes of some of their most popular series to Snap Minis, a brand new feature on Snapchat that hosts third-party apps.

Through Snap Mini, Snapchat users can watch various pilot episodes of original HBO programing with 63 other users and share Bitmoji reactions with one another while the drama unfolds. Among the pilots available to watch on Snap Mini are Gossip Girl, Euphoria, Game of Thrones, The Flight Attendant, Genera+ion, Looney Tunes, Lovecraft Country, Selena + Chef, Titans, Craftopia, Love Life, and Warrior and World of Calm. In addition, the season 2 premiere of Betty will also be available. Oh, and if the maturity level of those shows has you a bit worried for Snapchat’s younger crowd, rest assured that HBO will be asking users to verify their age in order to keep them out of age-restricted content.

According to The Hollywood Reporter, executive vice president of direct-to-consumer global product management at HBO Max Sarah Lyons released a statement claiming the move “paves the way for more meaningful discovery” of HBO shows by consumers. Lyons further explained:

“People love to come together to watch their favorite HBO Max shows and talk about what’s unfolding. Our partnership with Snapchat is another step towards fulfilling that desire for human connection and providing our fans with co-viewing opportunities, while deepening their emotional relationship with the brand.”

Based Snapchat’s younger demographic — which reportedly reaches about 90% of those between the ages of 13-24 in the US — it seems likely that HBO Max is trying to appeal to a younger demographic in order to up their already impressive 44.2 million subscribers. Only time will tell how this works out for the streaming service and Snap Mini.

(Via The Hollywood Reporter)

While discussing the recent recommendation by the American Academy of Pediatrics that all children and school staff, regardless of vaccination status, should wear masks during the 2021-2022 school year, The View panel, once again, returned to the pressing issue of vaccine hesitancy, and Meghan McCain, once again, attempted to deflect criticism away from Fox News and Republicans. But this time around, McCain pointed the finger at Dr. Anthony Fauci and Congresswoman Alexandria Ocasio-Cortez before launching into an odd plea to stop making the topic of vaccine hesitancy “political.”

Despite fellow co-host Sunny Hostin bringing data to the table that Fox News has demonstrably pushed COVID vaccine misinformation and conspiracy theories, McCain attempted to move the blame away from the news network, where her husband is a regular contributor, to Fauci because one third of hospital workers in New York, “one of the most liberal states in the country,” aren’t vaccinated.

“I’m sorry Dr. Fauci, but if you can’t get your hospital workers in New York in line, how are we supposed to do it in any other demographic in the country?” McCain argued. Of course, that neglects the reality that liberal states aren’t populated solely by liberal voters, but that didn’t stop McCain from then singling out AOC’s district for its 49% vaccination rate.

“If you have a problem in your district, then I don’t understand why this has to be so much about Fox News, because it’s not,” McCain said. This is a problem for our country and I’m petrified right now. Please stop making this so political.”

So in closing, Meghan McCain wants the record to show that Fox News is good, Fauci and AOC are bad, so clearly, there’s nothing political about this topic. It’s so obvious.

(Via The View, Decider)

Just a few hours after Jeff Bezos took a ride on a giant, phallic-shaped rocket so he could spend just a few minutes above Earth’s atmosphere, the former Amazon CEO held a press conference thanking his employees and the millions of Amazon customers who made his joyride into space possible.

And you know what? That just didn’t sit well with Alexandria Ocasio-Cortez.

The New York representative and progressive Democrat has held Bezos’ feet to the fire on more the one occasion, calling his company out for the reported treatment of its employees and the many tax cuts it receives, so it should come as no surprise that she tweeted what we were all thinking when it came to the billionaire space race that ramped up today. After Bezos sincerely thanked Amazon employees for “pay[ing] for this” when talking about his suborbital trip to a gathering of capitalist groupies — a comment that earned laughs from the audience — AOC took to social media to explain why this whole billionaire space competition feels tone deaf.

She’s of course referring to the horror stories that have surfaced detailing the working conditions of Amazon employees. That includes tales of delivery drivers having to pee in bottles to meet their deadlines and the alleged harassment that employees have faced while trying to unionize. However, if Bezos really wanted to thank the people that got him to space, he should’ve given the lawmakers and government officials who oppose taxing the rich a shoutout. You can’t reach for the stars without hefty tax breaks that gets you out of paying millions of dollars to the government every year, after all.

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.

If your pop culture memory goes back far enough, you’ll vividly remember when Willow Smith — daughter to Will Smith and Jada Pinkett Smith — exploded into the conversation at just 9 years old with a knowing smirk and the incomparable banger “Whip My Hair.” At the time, most critics greeted the youngest Smith with a mixture of awe and skepticism: a prepubescent capturing the zeitgeist sans Disney contract? Amazing. But, nepotism.

Of course, it didn’t entirely matter how good the song and its paint-splattering video were. (And they were good.) Willow could never entirely escape the chorus of skeptics around her ultra-famous parentage and what that meant for her future as a singer. America loves a good underdog story, despite the reality that most famous people get somewhere precisely due to their proximity to other famous people. Far be it from me to fault Willow — or any child of a famous person — for simply being born and interested in art. Should her famous family cloud the fact that Willow is wildly talented in her own right? Absolutely not.

Since the viral success of “Whip My Hair,” Willow has spent the last 11 years publicly exploring her musical identity, releasing a handful of albums that lean into a wide spectrum of influences: there’s jazz-pop and R&B on 2015’s Ardipithecus, ’90s singer-songwriter vibes on 2017’s The 1st, and psychedelic soul on her 2019 self-titled. On the just-released Lately I Feel Everything, however, Willow stage dives face-first into a hard-rock and pop-punk aesthetic and crowd surfs into the sunset.

This shouldn’t come as a surprise. Willow’s pop-punk pivot is a move that’s been in the works for a while now, perhaps her entire life, given the musical inspiration she’s absorbed from her mother, who was famously in 2000s nü-metal act Wicked Wisdom. Also, just last year, Willow released a rock-driven album, The Anxiety, with her partner Tyler Cole, who oversees production on this LP. On Lately I Feel Everything, Willow gets to really stretch out and smash the patriarchy, mining influence from Black rock music performers like Fefe Dobson, and Alexis Brown from Knoxville metalcore act Straight Line Stitch. The result is 11 tracks of explosive, catchy-as-hell anthems that offer a snapshot of a young yet keenly aware-of-herself woman who knows how to balance style with substance.

This is also an unexpectedly satisfying avenue for Willow’s soaring vocals, which are worthy of comparison to Paramore‘s Hayley Williams and even Miley Cyrus (speaking of child stars who’ve recently adopted a rock aesthetic). On the howling opener “Transparent Soul,” featuring building-collapsing percussion from genre icon Travis Barker, Willow tackles disingenuous, potentially exploitative characters (“I knew a boy just like you / He’s a snake, just like you / Such a fake, just like you”). Like a punk-rock godfather, Barker shows up all over the album, on the similarly frenzied “Gaslighter” and “Grow.” The latter track, a fist-pumping anthem for the ages about personal evolution, contains a full-circle Noughties punk moment with vocals from Avril Lavigne, who today’s youth mostly know from TikTok and dating pop-punk rebirther Mod Sun.

Such big-name involvement from Barker and Lavigne could make Lately I Feel Everything appear a bit one-note, but that’s would be selling the album and its author short. A closer listen reveals a Gen Z-core blend of genres, with alt-rapper Tierra Whack offering a verse on the reverb-heavy ballad “Xtra,” and “Come Home,” featuring Ayla Tesler-Mabe from Canadian jazz-funk outfit Ludic, offering a gritty shout-along anthem that blurs the lines between classic rock, grunge, and nü-metal. Finally, album closer “Breakout” is a heady swerve into riot grrrl territory, featuring assistance from LA garage outfit Cherry Glazerr.

Taken together, Lately I Feel Everything falls right into line with a currently on-trend Y2K pop-punk revival (see also: Olivia Rodrigo, the aforementioned Mod Sun, Machine Gun Kelly, Maggie Lindemann). But that’s no reason to disregard it, just like Willow’s parentage is no reason to dismiss her immense talent and beyond-her-years point of view. Like her Gen Z peers, Willow came of age at a frightening time in America: 9/11, two recessions, a global pandemic, an ever-widening split of political ideals. Most people her age have had to reevaluate what being young and supposedly unencumbered is supposed to look like. Naturally, it feels cleansing to lean into the past (Y2K nostalgia). But, as she mines a path for more women of color to rock out in male-dominated spaces, Willow is innovating with intention. It’s a lot to feel at once, but the catharsis is worth it.

Lately I Feel Everything is out now on MSFTSMusic/Roc Nation. Get it here.