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Rowdy Rebel and A Boogie Wit Da Hoodie‘s “9 Bridge” saw the two New York natives form a strong cross-borough connection and that connection is deepened in their video for the song, which they shared today. Opening with a closeup of a sword in a stone in the middle of a Manhattan street, the video finds A Boogie claiming the sword before being beset by a sneaky attacker. Fortunately Rowdy is right there with a crossbow to get his rhyme partner’s back.

Elsewhere in the video the duo pilots a submarine, challenges the devil to a game of chess, and plays cliffhanger off the roof of a skyscraper in a cyberpunk cityscape.

While neither rapper has released much solo music this year, they’ve both been fairly prolific on the features front. Rowdy, fresh off a six-year prison stint, has been in high demand, appearing with Nav in the “Jesse Owens” video and CJ in the “Whoopty NYC Remix” video. Meanwhile, A Boogie popped up on a remix of TikTok star Mooski’s “Track Star” and put out a new single featuring Lil Durk, “24 Hours.”

Watch Rowdy Rebel and A Boogie Wit Da Hoodie’s “9 Bridge” video above.

A Boogie Wit Da Hoodie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

In May, Modest Mouse announced The Golden Casket, which will be the band’s first album in six years when it comes out later this month. At the time, they also shared the anthemic single “We Are Between.” They’re since gone on to share “Leave A Light On,” but now Isaac Brock and company are revisiting “We Are Between” with a new video for the song.

The visual begins with clips of cars and livestock stranded in fields. Among this scene is Isaac brock, you finds himself interacting with a number of people, some of whom are real and others who are less so.

The band themselves haven’t said much about their new music, but the video seems to reflect some of the themes described in a previous press release quote about the project: “The album hovers in the liminal space between raw punk power and experimental studio science, frontman Isaac Brock explores themes ranging from the degradation of our psychic landscapes and invisible technology, to fatherhood. The twelve tracks behave like amorphous organisms, undergoing dramatic mutations and mood swings that speak to the chronic tug-of-war between hope and despair that plays out in Brock’s head.”

The band also recently announced a run of tour dates for the latter half of 2021. After playing Lollapalooza, they’ll travel the country between July and late October, with Future Islands joining them for a handful of dates.

Watch the “We Are Between” video above.

The Golden Casket is out 6/25 via Epic Records. Pre-order it here.

As if the strange times we’ve been living through couldn’t get any weirder, the Pentagon is set to release a report on UFO sightings later this month. The report is the result of a program designed to record and investigate sightings by the U.S. military.

The highly-anticipated report comes on the heels of three mysterious videos of “unexplained aerial phenomena” declassified by the Defense Department and released last year.

One video taken in 2004 and two subsequent in 2015, show objects flying at high speeds in Earth’s atmosphere, accompanied by a conversation between astonished Navy pilots.

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“There’s a whole fleet of them … My gosh, they’re all going against the wind, the wind is 120 knots to the west. Look at that thing dude!” a pilot exclaims in one of the videos.

Watch the Pentagon’s three declassified UFO videos taken by U.S. Navy pilots

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Defense officials and lawmakers have been pushing for the report’s release and one of the most vocal is Sen. Marco Rubio (R-FL), the highest-ranking Republican on the Senate Intelligence Committee.

“We cannot allow the stigma of UFOs to keep us from seriously investigating this. The forthcoming report is one step in that process, but it will not be the last,” he said in a statement to the Tampa Bay Times.

Former President Barack Obama has recently weighed in on the upcoming report and he shared his experiences with UFOs while in the Oval Office.

(Well, he shared what he’s allowed to share.)

“When it comes to aliens, there are some things I just can’t tell you on air,” he told Reggie Watts, bandleader of the Late Late Show. “The truth is that when I came into the office, I asked. I was like, ‘Is there a lab somewhere where we’re keeping the alien specimens and space ships?'”

“They did a little bit of research and the answer was no,” he said.

“But what is true, and I’m actually being serious here… there’s footage and records of objects in the skies that we don’t know exactly what they are, we can’t explain how they moved, their trajectory,” Obama said. “They did not have an easily explainable pattern.”

Reggie Watts to Barack Obama: What’s w/ Dem Aliens?

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This week, Obama went deeper on the subject with Ezra Klein on his podcast. Klein asked how his politics would change if he found out that aliens exist.

“It’s interesting. It wouldn’t change my politics at all. Because my entire politics is premised on the fact that we are these tiny organisms on this little speck floating in the middle of space,” he said.

Obama wouldn’t be too surprised if there were life on other planets, given the vastness of the universe.

“When we were going through tough political times, and I’d try to cheer my staff up, I’d tell them a statistic that John Holdren, my science adviser, told me, which was that there are more stars in the known universe than there are grains of sand on the planet Earth,” he said.

“Well, sometimes it cheered them up; sometimes they’d just roll their eyes and say, oh, there he goes again,” he added.

Obama hopes that if alien life were discovered, it would remind Americans of their common humanity.

“We’re just a bunch of humans with doubts and confusion,” he said. “We do the best we can. And the best thing we can do is treat each other better because we’re all we’ve got. And so I would hope that the knowledge that there were aliens out there would solidify people’s sense that what we have in common is a little more important.”

But he also fears the discovery could also lead to further discord.

“But no doubt there would be immediate arguments like, well, we need to spend a lot more money on weapons systems to defend ourselves,” he said. “New religions would pop up. And who knows what kind of arguments we get into. We’re good at manufacturing arguments for each other.”

So, at his core, it appears Obama believes that human nature is so deeply ingrained that even if we learned of life on other planets, it wouldn’t fundamentally change who we are.

Sorry aliens, humans are gonna human. Plan accordingly. But if you do land on Earth and ask to be taken to our leader, you’re in good hands if the people send you to Obama.

Fresh off the release of his album The Off-Season, J. Cole actually is in the off-season as he has just finished up his contract playing pro basketball in Africa. Now pivoting focus back to his music, Cole drops a visual to his brief track “Punchin The Clock.”

Much like his previous “Applying Pressure” visual, “Punchin’ The Clock” was directed by Scott Lazer and pays homage to New York City. This time, it shows the very-NYC act of attempting to catch a yellow cab. Once Cole finally secures a ride, he fires off verses about getting back into the swing of things.

The song’s intro and outro is a audio clip of Portland Trail Blazers star Damian Lillard, who reflects on the importance of putting in hard work in the off-season in order for it to pay off later, clearly a metaphor for Cole’s album as a whole. “In the summer, I think when you truly prepare yourself, and with training and conditioning, and things like that, when you cheat yourself, you fail in those moments,” Lillard says at the song’s close. “You know, you crash, and when you really put the time in and whether people see it, or whether people know it or not, you know, it always come to light.”

Watch J. Cole’s “Punchin’ The Clock” video above.

The Off-Season is out now via Dreamville. Get it here.

It’s hard to pin down Saphir’s genre. The LA-based vocalist’s work can range from emotive pop to goth-rock-influenced rap-soul, with many, many variations in between. However, for her first UPROXX Sessions appearance, self-described “Jewish girl who never got out of her scene phase,” opts for “Jaded,” a song that reminds me of a more confident, swagger-filled Evanescence. It’d make cool background music for a dystopian cyberpunk thriller — and I mean that as a compliment.

Counting influences such as Avenged Sevenfold, Slipknot, and NeverShoutNever, Saphir’s sound certainly wears those inspirations on its sleeve. Like her late compatriot Lil Peep, Saphir’s songwriting is personal, reflective, and raw; she’s unafraid to expose her issues to public scrutiny, which some fans will undoubtedly find endearing and relatable, and while her genre-hopping style is unconventional, it may very well be the key to a thriving career.

Watch Saphir perform “Jaded” for UPROXX Sessions above.

UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.

Sweet Tooth makes me feel giddy. I never expected to say that about a post-apocalyptic tale, especially one that uses a virus as a framing device, but here we are. Likewise, Robert Downey Jr. is here. He’s executive producing alongside Susan Downey and Warner Bros., relatively fresh off his Marvel Studios run as Iron Man while taking a stab at a DC Comics/Warner Bros. project; and following a production halt last year due to you-know-what, we’ve got an exciting comic book adaptation that (miraculously) does not involve superpowered beings. This show achieves another sizable feat, too, considering that post-apocalyptic fare has been a tricky thing to introduce during our current times. We’ve seen that already from a misfired Utopia on Amazon, and another uphill battle arrived with the reboot of Stephen King’s The Stand, which was quite good but, still, not exactly what people wanted to watch during a pandemic.

What I’m saying, quite inarticulately, is this: in order for a tale involving a humanity-halting virus to succeed, a finely-threaded needle must weave a story that can justify its existence outside of a virus-framing. Also, goddamn it, we need hope and positivity amid the shadows. With Sweet Tooth, that happens because the microbe didn’t need to be the spark of this dystopian fairy tale. Nor is the virus anywhere near a subject that overrides the show’s vibe. In fact, I nearly hesitated to mention any pathogen at all at the risk of giving anyone a reason to not watch this show because it’s a marvelously rendered tale. Yes, the show has dark moments — it is, after all, based upon a comic that’s been referred to as “Mad Max Meets Bambi” — but it’s also funny and smart and has a touch of satire. Most of all, Sweet Tooth is a series that involves mature themes but is a safe bet for the family, at least for those who can handle PG themes.

Here’s where I also urge you to not let that “family” attribute scare you away if you want a grown-up story. Sweet Tooth first surfaced (as written by Jeff Lemire) under DC’s Vertigo imprint, and comic-book fans damn well know that Vertigo (before these titles were moved under the DC Black Label umbrella) catered to mature audiences. Think The Sandman, Preacher, Transmetropolitan, 100 Bullets, and John Constantine: Hellblazer. As a comic book, Sweet Tooth was actually pretty bleak, but Team Downey and Warner Bros. sought to lighten the mood for the Netflix audience. Thank goodness for this foresight because, again, we need some uplifting material for genre fans who still wish to dance next to their darker proclivities.

With that said, there are a ton of aspects to love about Sweet Tooth. At its core, it’s a story that’s indeed got both Mad Max and Bambi vibes (a hybrid deer-boy suffers a great tragedy after the collapse of society), but the series also feels like The Mandalorian in spirit and the central dynamic (a Protector type and an adorably-eared Child, who gets, uh, hungry sometimes) that forms the soul of the show. There’s some The Walking Dead and The Road flavor up in there, too, along with Pinocchio and Peter Pan. All of those layers come to life through the performances of a wonder-filled Gus/”Sweet Tooth” (Christian Convery) and the gruff Jeppard/”Big Man” (Nonso Anozie) after they come together as strangers. For a decade, Gus has led a sheltered life in Yellowstone Park; it’s now road-trip time after his father figure, portrayed by Will Forte (who’s in serious mode, and it works), hid him away from all close-minded adults, who fear that hybrids unleashed the virus. And if this is sounding too familiar, those aspects of the show that could hit too close to home are skillfully diffused through a satiric lens.

As it turns out, Gus is a bit of a time capsule to those last moments before civilization turned to sh*t. He exists to remind people that there was once plenty of good in the world. He softens Jeppard (their chemistry between Convery and Anozie is outstanding, despite them never having met before their first take), and Gus similarly influences the perspective of a jaded teenage girl, Bear (Stefania LaVie Owen), who leads a group of animal-fur-clad youths that will remind people of The Lost Boys (in the Peter Pan sense, not the vampire flick of the late 1980s) or even Lord of the Flies.

Throughout their journey, Gus and Jeppard must evade a paramilitary group, The Last Men, who want to destroy hybrids, and yeah, it sure looks like fear is the real killer in this dystopia. Fortunately, James Brolin’s baritone narrator reminds us that this is, ultimately, a happy-ish story, and it also feels like a trip to the movies because it was shot in New Zealand, which stands in for Yellowstone and Colorado and looks gorgeous. There’s no need for much CGI here, as the show favors practical effects, and the story’s appeal rests upon its characters. Yes, the focal point of Sweet Tooth is the relationship between Gus and Jeppard, but there’s plenty of background players (from seemingly unconnected perspectives) to add texture and context to what else happens in the world beyond the quest. For example, we see a doctor wrestle with how to save mankind, and a therapist takes up residence at a zoo, where fantastical things happen.

Fearsome presences rear their heads, as well. The Last Men function as the story’s outright big bad, and they’re led by a general (portrayed by a, dare I say, unrecognizable Neil Sandilands). Meanwhile, other hybrids enter the story, the past collides with the present in all sorts of ways. Oh, and the vibes are pleasantly overwhelming. Sweet Tooth isn’t quite arriving in summer, but it’s giving us summer moods: hope and positivity and love and understanding and the healing of nature. It’s the show that the stuck-at-home-too-long audience needs right now, and it’s a big, comic-book-loving blanket of a series. The eight episodes of this first season go heavy into world-building that should lead into future seasons, if the Netflix audience knows what’s good for them.

Netflix’s ‘Sweet Tooth’ streams on June 4.

Bruno Mars and Anderson .Paak are still enjoying the success of their sole Silk Sonic single “Leave The Door Open”: The song recently returned to No. 1 on the charts for a second week, and on the latest Billboard Hot 100, it’s still in the top 5. Still, the song was released three months ago now and fans are craving more from the duo. Well, today, they’ve gotten more, albeit in a form they likely weren’t expecting: Mars and .Paak have collaborated on a new jingle for SelvaRey Rum, a rum brand that Mars co-owns.

The duo also got James Fauntleroy on the track, which was produced by “Leave The Door Open” producer Dernst “D’Mile” Emile II. As would be expected from a commercial jingle, it’s a brief and jaunty tune, although it ends with some smooth, Silk Sonic-style soul.

Mars says in a statement, “Rum is really synonymous with joy. Anyone holding a good rum cocktail is exactly where they want to be. That’s what I wanted people to feel with this campaign. And SelvaRey Coconut delivers the ultimate drink every time. It’s hands down the best coconut rum you’ve ever tasted. Who wouldn’t be happy with a SelvaRey Piña Colada in their hand?”

He also wrote on social media, “My friends and I are Co Owners of this delicious rum. Us being all musicians it’s only right that we put together the official jingle for @selvareyrum .This was fun!”

Check out the jingle above.

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

Commemorating the one-year anniversary of her hit single “Dance Alone,” Tayla Parx follows up her Coping Mechanisms album with a short film. The visual includes several songs off the album and follows the singer as she navigates through the ever-changing world around her.

The 17-minute Coping Mechanisms film opens with Parx dancing her way through a whimsical building. As she arrives outside, she suddenly becomes animated and discovers the dark side to greediness.

In a statement about the film Parx says she wanted to give her fans some more context about the album:

“It brings me a tremendous amount of joy to share this film with the world. I wanted to create a visual component to Coping Mechanisms to give fans a deeper understanding of the innerworkings behind this album while providing a bit of a time capsule into my emotions. Big shout out to Parx Studios as well as Bobby and Roxana who helped bring this film to life.”

Watch Parx’s Coping Mechanisms short film above.

Coping Mechanisms is out now via Tayla Made/Atlantic. Get it here.

Tayla Parx is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Colorado always claims a top spot when it comes to summer road travel, and this year, with so much travel focused on drive markets, is no exception. There are four different National Parks in the state, all located in opposite directions — making a National Parks road trip a slam dunk choice. I’ve visited all of the Colorado parks multiple times, and have finally dialed in my perfect itinerary and pit stops.

Here’s my guide to the perfect Colorado National Park Road Trip:

Denver to Great Sand Dunes National Park

I would start in Denver — and depending on when you can snag timed entry tickets for Rocky Mountain National Park — either start or end there. Assuming RMNP is your last stop, begin by heading south from Denver via 285 towards Great Sand Dunes National Park. The drive is 3.5/4 hours, but there is a lot to see along the way. I always stop in Buena Vista (there are great hot springs and a ghost town just outside the city), or even a slightly longer detour to Rye and Bishop’s Castle — a one-man-made castle in the middle of San Isabel National Forest. Then on to the Sand Dunes.

Great Sand Dunes doesn’t have any reservation system to enter this year, but is getting increasingly popular thanks to its towering dunes, mountain backdrop, and proximity to Denver. So if you’re planning on camping, I’d reserve as far in advance as possible (all sites in the park are now reservation only). If you can’t get a spot, there are chain hotels and food in nearby Alamosa.

Great Sand Dunes National Park to Mesa Verde National Park

From Great Sand Dunes, head east towards Mesa Verde National Park. It’s about a four-hour drive via US-160. This route takes you right through Pagosa Springs where you can stop to soak at one of the famous hot springs then stop at nearby Chimney Rock National Monument on your way to Durango. You’ll likely want to stay and explore in Durango for the night before heading to Mesa Verde.

You can buy a ticket for a cliff dwelling tour (the only way to see all but one of the dwellings) starting 14 days before your visit at 8am MST here.

Mesa Verde National Park to Black Canyon of the Gunnison National Park

From Mesa Verde you will head Northwest towards Black Canyon of the Gunnison National Park in Gunnison. This leg will wind through some of the most scenic spots in the United States. The drive is just 3 hours, but you’ll want to make several stops. I recommend stopping in Telluride before driving on to Ridgway. From there — if you have some time — I would absolutely detour to drive the “Million Dollar Highway” from Ouray to Silverton and back. It is some of the most jaw-dropping scenery I’ve ever encountered. Truly takes your breath away.

Once you get to Black Canyon you won’t have to worry about reservations — it is still a fairly underrated park, but I imagine won’t be for long.

Black Canyon of the Gunnison National Park to Colorado National Monument

Colorado National Monument isn’t one of the 63 currently designated “National Parks” in the National Parks system, but it is a National Monument that packs more of a punch than some that do have the designation.

It is a great stop-off on a Colorado NPS trip, just an hour and a half from Black Canyon. Even just a drive-through is worth your time here to see the steep red rock canyon walls.

Colorado National Monument to Rocky Mountain National Park

The drive from Colorado National Monument east to Rocky Mountain National Park could be as short as four hours to over four days, depending on your schedule. There is so much to see and do. I usually recommend stopping/staying in Palisade just outside of Grand Junction — the wine country of Colorado. There are over twenty wineries along with cideries, breweries, and of course hikes.

From there, continue along I-70 and stop at Rifle State Park. It’s just off the highway and just a few steps from the (often very busy) parking lot brings you to a beautiful triple waterfall. You can continue on to three hiking trails through the park before heading back towards your ultimate destination.

Now you have a choice to make — continue on the direct route (continue on I-70 east) — or detour through the purple mountains majesty. If you have the time, I think you know which one to pick.

My favorite detour is to the roaring fork valley. There you have endless options on the road towards Aspen. If you can get a ticket, Maroon Bells is a must and possibly a more iconic view than any of the National Parks in the state. I always lunch at the Aspen Art Museum rooftop cafe or stop at the eclectic Woody Creek Tavern just outside town (Hunter S. Thompson’s favorite bar), then spend some time driving over Independence Pass. It just opened for the season and is truly one of the most breathtaking drives I know of on this planet.

From there, you land in Twin Lakes — another one of my absolute favorite places in the state to hike, wade into the water, and camp. From there, head back down to the interstate, stopping in Silver Plume for a drink at Bread Bar before heading north on 119 where you can stop at in Black Hawk or Brainard Lake Recreation Area (but only with reservations this year) and then on to Rocky Mountain National Park.

Rocky Mountain National Park back to Denver

Rocky Mountain National Park is legendary. It is vast and awe-inspiring and all of the things that you think of when you think of a Colorado road trip. It requires timed entry tickets this season to enter and another for the road to Bear Lake (where many beautiful hikes originate).

You really can’t go wrong here. Drive Trail Ridge Road, hike around Bear Lake, watch for wildlife or just sit and take it all in.

When you’ve picked your jaw up off the floor it’s time to head back to Denver. Drive through Lyons and Boulder to get your last view of the Rockies before heading home, reflecting on the fun you had, and planning your next adventure.

Kate Winslet went full Brad Pitt with her on-screen eating in HBO’s huge hit Mare of Easttown. Winslet’s titular Mare eats so much during the run of the series that it’s a focal point of SNL’s parody of the show. In the second episode, there are three scenes that feature Mare eating in various situations — from downing a cheesesteak to stuffing duck liver in a couch cushion to digging into a hoagie. Each perhaps deserving of a culinary homage, in its own strange way.

It’s that first meal that caught my attention, though. I’m a big cheesesteak fan. Back in college, it was a pretty normal occurrence to drive up to Philly on a day off just to get a cheesesteak (I went to school in Washington, DC). Luckily, I was usually going with a friend or two who actually came from the home of Gritty. So I got turned onto Jim’s South Street early and never really hit up the other famous spots too often (though they were all tested at some point).

Even as my life has changed, my love for this perfect, messy sandwich has endured. So when I eyed Kate Winslet tucking into a quick cheesesteak, I knew I had to make one.

Since Mare of Easttown has sort of become internet famous for being a food-filled show, it wasn’t too hard getting information. Vulture has an episode-by-episode guide of every food scene and what’s being eaten in each one. Turn’s out the cheesesteak in question is from Cocco’s in Aston, PA. After perusing their menu, it became pretty clear that we’re dealing with a classic cheesesteak with no frills. Exactly what I was hoping.

I set out to make a cheesesteak the way I’d always order it, “sweet peppers, onions, whiz.” Look, provolone is fine on a cheesesteak but you’re already going for a gut-bomb. So I always thought you may as well go the whole way and get your neon cheese on. And with that spirit, let’s dive into making a cheesesteak at home for all of us who don’t live near Philly.

Classic Philly Cheesesteak with Whiz

Ingredients:

• 1 12-inch hoagie roll
• 1-lb. ribeye steak
• 1 green bell pepper
• 1 large yellow onion
• 1/2 cup Cheese Whiz (or equivalent)
• Worcestershire sauce
• Dried oregano
• Sea Salt
• Black Pepper
• Olive Oil

I can’t get Amoroso’s hoagie rolls in Berlin (where I live), obviously. But, I can get a soft sandwich roll that is shockingly close. The main element missing is the dusting of cornmeal. Otherwise, it’s a soft, long sandwich roll and that’s what you need for this.

Next, I’m using rib eye. It’s undeniably the best cut to use for a cheesesteak. I even scored a ribeye from the U.S.A. to make this one extra authentic.

Finally, the cheese sauce is pretty standard. I can’t get the exact Kraft Cheese Whiz but I can get the exact same thing under a different label. Plus, I got a pretty big jar. So I guess I’ll be making movie theater nachos this weekend. Win-win?

What You’ll Need:

• Large saute pan
• Small pot
• Bowl
• Cutting board
• Kitchen knife
• Bread knife
• Heavy metal spatula
• Tongs
• Spoon
• White wrapping paper
• Foil

Method:

• Place the steak in a small Ziplock bag in the freezer for about 30 minutes to firm it up.
• In the meantime, slice the onion and bell pepper.
• Heat the large saute pan on medium-high heat with a thin layer of olive oil.
• Add the onion and bell peppers and saute while moving around with the spatula.
• Once the onions just start to brown, lower heat to medium, and hit the peppers and onions with four or five dashes of Worcestershire, a few cranks of black pepper, a few pinches of dried oregano, and two big pinches of salt. Keep moving everything with the spatula to fully combine.
• Once the onions are brown and the peppers are soft, set them aside. The saute pan should have a nice fond on the bottom — KEEP that.
• Put the cheese into a small pot and place it on low heat.
• Fetch the steak from the freezer.
• Use a very sharp kitchen knife to slice the steak as thin as possible against the grain.
• Turn the heat back onto medium-high under your saute pan and add another thin layer of olive oil.
• Add the steak into the hot pan and hit with two big pinches of salt and a few cranks from the black pepper mill.
• Use the edge of the metal spatula to hit the meat, sort of like you’re tenderizing it in the pan. Be careful as the juices coming out of the steak will splash around.
• Once the meat is browned, move it to one side of the pan and re-add the peppers and onions to rewarm them in all the steak juices in the pan.
• Use the bread knife to cut the hoagie open and place it over the steaming meat, peppers, and onions to warm it up for about a minute (you can also warm it up in a microwave or an oven).
• Open up the warm hoagie without breaking the hinge. Use the tongs to load all the steak into the bread then top with an even layer of peppers and onions.
• Move the sandwich over to a cutting board.
• Using a standard kitchen spoon, drizzle the cheese up and down the sandwich.
• Wrap the sandwich up in white paper, making sure to keep the cheese, steak, peppers, and onions tucked into the sandwich then wrap that in foil and let it rest for five or more minutes to let everything come together.
• Use the bread knife to cut in half and tuck in!

Bottom Line:

This was a f*cking cheesesteak with neon orange cheese on it. Of course, it was amazing. No need to ask, really.

The meat was easy to chew and fell apart without falling out of the sandwich. The green peppers and onions added a really nice sweetness and a touch of crunch. The cheese “whiz” was on point — a gooey umami bomb in neon orange. The juices from the meat really helped the soft and slightly sweet bread become a nostalgia-inducing treat. Every bite was an “ahhh…” moment.

Overall, I got good reviews from my lunch companions. This was a win as a homemade edition. Moving forward, I might pull a little bit of the bread out before I fill in the meat. Trying to stay carb conscious and all that. But maybe not. All that I know is that I want to make this again very soon.