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It’s been a few months since Drake announced the release of his own line of scented candles for the holidays and with Mother’s Day coming up, it looks like he’s decided to give folks another chance to pick some up. He’s also sweetening the deal, so to speak, by offering his fellow Canadians the chance to get the candles for free when they order from their favo(u)rite restaurants on Uber Eats and Postmates.

The candle brand, Better World Fragrance House, sent a limited number of candles to a curated list of Toronto and Vancouver restaurants, and from May 7 to 9, customers who order $50 or more worth of food can get a free candle as long as supplies last. Drake also shared a teaser of the brand’s “first scent series” which also releases on May 9.

The candles initially launched in five scents: Carby Musk, Good Thoughts, Muskoka, Sweeter Tings, and Williamsburg Sleepover, all inspired by Drake’s day-to-day activities, with Carby Musk allegedly smelling like Drake himself. The candles sold out on Revolve relatively quickly, and the star also sent several to his friends, including members of the Toronto Raptors.

Meanwhile, this offer isn’t the first time delivery services have teamed up with rappers. Uber Eats previously offered Migos-themed meals from Popeyes, while Postmates became the home of Wiz Khalifa’s delivery-only restaurant HotBox By Wiz last year. Even DoorDash got in some hip-hop love, albeit indirectly; Providence, Rhode Island rapper Brendan Rush went viral earlier this week when a driver included his Spotify info with deliveries and a fan tweeted about it.

This is not going to be a hard sell. It’s not going to be one of those all-caps shouty things where someone begs you to watch a show they like. There will be no overt peer pressure involved, no coercion, no screaming into the void. There are too many television shows for that and, frankly, we’ve all been through too much over the past year-and-change for me to sit here and harangue you about what you are or are not watching. All this is, all I’m doing, is making a suggestion. One based on years of reading things all of you have stated about other shows and things you’ve said you like and want. This is a friendly exercise. Here we go: I think you would probably like Mythic Quest.

I’ve written about Mythic Quest before, a few times, actually. The simple reason for that is that I like it very much. And I’m not even a big video game person, which was my original stumbling block with it, because the show is set in a video game studio. But as I started watching it, I noticed familiar beats left and right. Mythic Quest is not so much “a video game show” as it is “a workplace comedy set in a video game studio.” Objecting to it on that basis would be like objecting to The Office because you’re not super into the paper-selling business. Which, conveniently, brings me to my next point.

You liked The Office, right? Well, Mythic Quest has some Office-y elements to it. The studio is led by a self-important bozo played by Rob McElhenney, kind of a cross between Michael Scott and Mac from It’s Always Sunny. There is a will-they, won’t-they romance between two characters that builds over a season. There are emotionally impotent sadsacks and power-crazed sociopaths and lots of versions of other characters you might recognize in their broader outlines. Danny Pudi from Community shows up as the soulless marketing/money man for the studio and he is just delightfully evil. Remember him? Remember Community? You loved that show.

You know what other show you liked? Ted Lasso. Lord in heaven, did you ever like Ted Lasso. With good reason, too. Ted Lasso was a blast, a breath of refreshing calm in a sea of chaos. It was a funny show about a sweet man diving into British anarchy and creating some semblance of order, like if Paddington wore track pants and had a powerful mustache. Mythic Quest is not exactly like that. It is meaner and sharper-edged in spots. But it is, at its heart, a sweet show about people who like each other and want to build something cool together, like Ted Lasso. This was never more true than in the show’s quarantine special. That sucker was as funny and moving and cathartic as any half-hour episode of television you’ll ever see. But we’ve been over that. Let’s keep going.

Regarding the Rob McElhenney of it all: You like It’s Always Sunny, right? Man, I hope you do. What a terrific show that is and has been for a period of time somehow zeroing in on 20 years now. Well, Mythic Quest is the brainchild of most of that team, with McElhenney, Charlie Day, and Megan Ganz getting the Created By credits. And like Sunny, it too dances across a slew of lines: it’s sweet and foul, funny and mean, heartfelt and heartless. It’s a highwire act that can trip up a lot of lesser shows run by lesser acrobats. But this is some Cirque du Soleil stuff over here. It’s the rare show that can go from “gamer trolls digging swastikas into the battlefield” to “heavy discussions about biological and found families.” That’s not nothing.

It also has secret weapons. One of the secret weapons is BLAMMO SURPRISE JAKE JOHNSON AND CRISTIN MILIOTI. I’m sorry. I’m sorry. I know I said no all-caps. But I say a lot of things. And how could I not all-caps that? You love Jake Johnson, he of “Nick Miller, clown prince of New Girl” fame. And you love Cristin Milioti, too, for a lot of reasons but especially for Palm Springs, an extremely good movie. The two of them pop up out of nowhere for a standalone episode in the first season that will knock your socks off. This paragraph kind of ruins that surprise. But I already said I was sorry once a few sentences ago. Let’s just apply that to this, too.

And Mythic Quest has a second secret weapon, too, or at least one that was secret to me before I started watching: Charlotte Nicdao, who plays Poppy, the game’s lead developer and a ball of ambitious anxiety. She is freaking incredible. She hits all these little mannerisms and flourishes that are not in the already-good scripts and carries huge chunks of episodes. You would like her and her character a lot, I think. And I would like it if she gets to be a big star because of it. And then we would both like watching her, say, collect an Emmy or two. She deserves this, but so do we.

I bring all of this up now for two primary reasons: One, because the second season premieres this weekend on Apple TV, a streaming service you probably already have (just go where you went to watch Ted Lasso and click around a bit); two, because the second season is so good. It is really so good. It takes the stuff that was already good in the first season and builds on it. It takes the stuff that had room to grow and lets it branch out. Mythic Quest is legitimately one of my favorite television shows right now and, while I would like you to watch it both to validate my opinion and to ensure that Apple keeps funneling money into it, I would mostly like you to watch it because, again, I really think you will like it.

So watch Mythic Quest for me, if that gets you to watch it, and I do appreciate it if this is your reason for giving the show a shot. But more importantly, if I know you like I think I do, you should watch Mythic Quest for you.

Season two of ‘Mythic Quest’ begins streaming on Friday, May 7th via Apple TV+.

When Guardians of the Galaxy director James Gunn was fired by Disney back in 2018 after a right-wing campaign resurfaced old, controversial tweets, Dave Bautista was one of his biggest supporters. The Drax actor even went so far as to threaten to quit over Gunn’s firing. As the story goes, Gunn fairly quickly received the keys to a reboot/sequel of its Suicide Squad franchise, and eventually, Marvel reinstated him as the director of Guardians of the Galaxy Vol 3, which made everyone, including Bautista, happy.

In the midst of all that, there were several reports that the ever-loyal Bautista could be following Gunn over to Warner Bros./DC to star in The Suicide Squad, but his casting never materialized. Instead, Bautista ended up in the Zack Snyder-directed Army of the Dead, and ahead of that movie’s upcoming release, he’s opening up about his decision to do the zombie film and how he broke the news to Gunn. According to Bautista, there truly was a scheduling conflict, which prevented him from doing both films, and when it came down to it, he had to make best call for his career. Via Digital Spy:

“I get to build a relationship with Netflix, I get a lead role in a great film – and I get paid a lot more money,” he told Digital Spy with a laugh. “I had to call James, and I told him, ‘It breaks my heart, because as a friend, I want to be there with you, but professionally, this is the smart decision for me.’”

Like a true friend, Gunn was nothing but supportive and was actually happy for Bautista. “He said, ‘I completely get it. I’m proud of you that you’re even in this position. I’m proud that I had something to do with you being in this position where you have to make these hard decisions.’”

(Via Digital Spy)

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.

Shelley — the Virginia artist formerly known as DRAM — is not in the midst of a rebrand. Those who met the singer-slash-rapper with his breakout single “Broccoli” or even his groovy fun-spirited effort, “Cha Cha,” might think so, especially after finishing his second album, Shelley FKA DRAM. However, a deeper look into his discography brings us to efforts like “Caretaker” and “Best Hugs,” proof that Shelley’s soulful agenda has long been entwined in his DNA.

So what do we make of Shelley’s new album? Perhaps it’s a new chapter in his career, but that again plays into the “rebrand” idea that underscores the aged talents he presents on Shelley FKA DRAM. Instead, settling on an acceptance of one’s identity seems to be a much more fitting label for this project. Its ten songs detail Shelley’s shoulder-shrug that precedes a cannonball jump into a journey through the good and bad of love.

Shelley FKA DRAM tells a story of a love so beautiful and wholehearted that it’s worth spending a lifetime dreaming about. Its delicate songwriting wraps its warm hand around the tender production Shelley uses to paint a picture of intimacy to a degree so high that it often seems too good to be true. “Exposure” delivers words that would easily land you the woman or man of your dreams, no matter how many leagues away they might be. “The Lay Down” with HER brings the sounds and atmosphere of bedroom magic for a fiery and passion-exploding anecdote that ends with the fireworks of Watt’s searing electric guitar solo.

In between these songs comes a thought from Shelley. “Isn’t love just beautiful?” he ponders at the end of “Something About Us.” “I mean, every aspect of it / From the pursuit, you know the cold sh*t part / To actually feeling and embracing it.” And you know what? Shelley’s right. It is beautiful to sprout a connection, taking a romantic trip to wherever the heart chooses to go. Unfortunately, the journey isn’t guaranteed to last a lifetime, and the second half of Shelley FKA DRAM sees him become victim to what proves to be a flimsy promise in companionship. It all crashes and burns on “Cooking With Grease” and while he dusts himself off to start all over on “Remedies,” things aren’t the same.

Shelley approaches love with no guard to get around and without a wall to climb over. He makes it quite clear just minutes into the album. “Since we not stoppin’ ourselves,” he sings on “All Pride Aside” which features a sultry contribution from Summer Walker. “I’ll keep lettin’ you if you keep lettin’ me.” Pride blocks some of a relationship’s most necessary qualities from existent: vulnerability, communication, and compassion, just to name a few. Disposing of it is always easier said than done, and when one does, the highs of love feel really high, but its lows hurt more than anything else.

There’s a line on “The Lay Down” that sticks out to me like no other on Shelley FKA DRAM. “Can’t blow my high on airplane mode,” Shelley and HER sing at different points of the song. Life’s moments are what you make of them and not for anyone else to dictate. Keep your head in the clouds because anyone who’s up there with you understands the absolute glory in that. As for those stuck on the ground, they’re not to be worried about because you’re too out of reach for them to pull you down. This same philosophy takes life with Shelley’s sophomore album. As many may have tried to box him in as the artist we hear on “Broccoli,” he dictated his own life and artistry, accepted an identity he always knew he had, and gave the world an album that came from the heart’s core.

Shelley FKA DRAM is out now via EMPIRE/Atlantic. Get it here.

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

We probably know the identity of the Scranton Strangler, but there’s another unsolved The Office mystery out there: who is the father of Jan’s baby?

In the season four episode, “Goodbye, Toby,” Jan reveals to Michael that she’s pregnant. Michael, of course, assumes he’s the dad (even though he wore two condoms when they had sex), but she informs him that he’s not the father. (Michael would make a Maury joke here.) “I went to a sperm bank,” Jan says. “It’s not just any sperm bank.” It’s next to the “little breakfast place” that Michael loves where you can draw on the tables (IHOP). In season five, Jan gives birth to Astrid, who Michael spells as “Astird,” but through the rest of the series, we never learn who the biological father is. Is it Hunter? Is it Kevin? It’s neither. In fact, as Jenna Fischer and Angela Kinsey revealed in the latest episode of the Office Ladies podcast, it’s someone who never even appeared on The Office.

“Jenna in the script — and it didn’t make it to the deleted scenes — Jan reveals whose sperm she bought,” Kinsey told her co-star, who had no idea. “Jan says, ‘You have to pay top dollar, but it’s worth it. Now, here’s the best part. I got Andy Roddick’s sperm.’”

Yes, that Andy Roddick. She continued:

“And Jan looks to Michael like she’s expecting him to be very impressed. And Michael says, ‘The tennis player?’ And Jan says, ‘Well, it’s a little more than that. He’s the sixth ranked player in the world and he’s won four grand slams.’ And Michael says, ‘That’s a lot of grand slams, I guess.’ And Jan says, ‘And he’s a humanitarian — something with orphans.’ And Michael is quiet and Jan goes, ‘Michael?’ And Michael says, ‘Can I just sit here for a minute without more things coming into my head?’”

Why Andy Roddick? Fischer thinks it’s because he’s friends with Rainn Wilson, who played Dwight on The Office. “I have to imagine that the reason they wrote it as being Andy Roddick’s sperm was a little bit of a nod to Andy, who has an amazing sense of humor,” she said. Whatever, I still believe it’s Kevin.

You can listen to the Office Ladies episode below.

Marilyn Agrelo’s Street Gang: How We Got To Sesame Street contains many, many surprises. Well, first of all, before we get to that, this is a documentary about Sesame Street, so for a lot of people this is going to come with a lot of baked-in emotions, whether a person realizes it or not. It’s in there. But there’s a lot of behind-the-scenes drama explored in this film: from the original Gordon, Matt Robinson, an activist at heart, creating a Muppet for Black kids and the untimely end for both Robinson and his creation; then there were the Southern communities who were against Sesame Street; also a rift between creators over who was getting enough credit, which involves a man named Jon Stone, a driving force of the show that people don’t know much about today. (Yes, maybe he had a point he wasn’t getting enough credit.)

Also, Agrelo’s film dives into how the show handled the death of a cast member – Will Lee, who played Mr. Hooper – which, for a lot of kids (this one included), was one of the first honest conversations about the topic we’d get at such a young age. And something we’d remember long into adulthood.

Your movie brought back a pretty emotional reaction to Mr. Hooper dying. I remember that vividly when that happened.

So I mean, to me, that is such an extraordinary thing that these visionaries that made Sesame Street did for kids. Honestly, to confront something so real and so painful and find a way to bring it to preschoolers, to me was a little miracle. And that’s really what those creators of Sesame Street were so good at doing. They took the world and they made it palatable. They interpreted it for children. And, honestly, when I first started this project and started doing research for it, I was so blown away by the fact that these were … they were activists, is really what they were. They came out of the civil rights movement. They wanted to do something for inner-city kids. You know, they were doing social commentary, they were doing satire, they were doing all of these things that were so brilliant and so ahead of its time.

And very weird.

And very weird.

On my own, I rewatched their short film about milk and with that weird song playing that just keeps saying “milk” — it truly is bizarre.

You know, they were really writing almost for themselves. It was a time when, in television especially, they could be so free because it was all so new, what they were doing. No one was clamping down on what’s right to present to kids and what’s wrong to present to kids. They were experimenting.

Your film dives into how Sesame Street brought Black neighborhoods into white suburban homes and how that affected children. The last thing I want to do is make this about me, but I am for just a second: It really hit me how, yes, I watched this show as a child in suburban Missouri, but always wanted to live in New York City and now do. I do think there’s a correlation.

Isn’t it amazing that they didn’t even talk about it? You know, they just threw this Harlem thing in.

Right, they weren’t trying to sell me on New York City, but they did by making it seem like the most amazing place in the world.

I mean, and I’m willing to bet, Mike, that most of the kids that watched Sesame Street in the era that you’re talking about, most kids lived in segregated environments. You know, you lived in the suburbs with all white kids, or maybe you lived in the cities with a lot of kids of color, but I don’t think there was a lot of crossing over. And here you had this world on TV where nobody even made a big deal about it. They just were all together. They were in this brownstone. But I think there’s something to that because I think the reason we all still love Sesame Street is because it showed us a world that was so, I don’t know … so ideal. It was so perfect in its own imperfect way that we all yearned for it. And I think that’s stayed with us and still lives within us. You know, this world, we still kind of yearn for.

Your movie also gets into what happened to Matt Robinson as Gordon. Most people know Roscoe Orman as Gordon, but I remember every now and then they’d show reruns and a different actor played Gordon and I didn’t know that story at all.

I do love the story of Matt Robinson. I’m glad you talk about that. I mean, one of the things that blows me away about how forward-thinking the people behind Sesame Street were is that Matt Robinson was this guy who works in a TV station in Philadelphia. He had a talk show that was all about Black culture and Black life. And he was sort of a radical, almost. He was really aligned with Black power movements and all this stuff. And that Sesame Street, a show for preschoolers, picks this guy? I mean, that that even happens is kind of amazing. So they turned him into Gordon and he really, really wanted to make this show resonate with kids of color in a way that was even beyond what Sesame Street was doing. And the whole story of Roosevelt Franklin. I love it so much.

It’s a sad story though, that he created a Black Muppet, but it didn’t get to continue.

It didn’t get to continue. And you know, as I was researching Roosevelt and everything, obviously the white parents were freaking out about this. This was too much for them maybe. But it was the Black parents. And I find that so interesting. The Black parents didn’t want to have a stereotype for their kids. And Matt Robinson felt like, no, this is reality. This is how kids talk. This is how it is with Black kids. Why are we sugarcoating it? And so, you know, maybe he was a little too, I don’t know. Maybe his vision was a little bit more than they were ready for.

Yeah maybe 50 years ahead of its time…

But how daring and how bold a move that it was so ahead of its time and they said, sure, let’s do it. You know, let’s make a Muppet for you. And they did it. It was really quite something. It is sad that it ended the way it did, but, you know, I applaud Sesame Street, them, for being so willing to go there in every respect.

Well, to that point, too, you get into how a lot of places in the South didn’t want to show Sesame Street. In retrospect, I find that both surprising and, now, especially with what we’ve seen even recently, not surprising.

It’s really unbelievable. Yes. How could any community react that way to this show that’s teaching kids how to read and how to count? But, yes, you have this normalization of people of color living together with white people and I guess that was too much for them. And, in a way, you want to say to yourself, wow, things were so backwards then. But you are absolutely right, look at what we just lived through. And 50 years later, we just went through a whole year of Black Lives Matter and episodes of police brutality and you wonder how far have we moved the needle? It’s quite something, isn’t it?

So how much of the friction between creator Joan Ganz Cooney and head writer Jon Stone were you aware of before making this?

Very little.

He was upset he wasn’t getting the credit and media attention she was getting?

Yeah. But, you know, I had never heard of Jon Stone…

Right, I think that’s what he was mad about.

And whenever I’ve talked to anybody about this project in the last few years of making this film, I’ve spoken to people and they’re like, “Oh my god, that’s great, Jim Henson started Sesame Street, I remember it so well.” Most people assume that Jim Henson was behind Sesame Street. And it was not, it was this man named Jon Stone that nobody heard of. And all of these things were his idea. He brought Jim Henson in. He saw that PSA on TV and decided it should be fashioned after a street in Harlem. All of those creative things came out of Jon Stone’s head. And so, for me, it felt like almost a mission, you know? To tell his story and put him in the center of this piece. There was a thing between him and Joan. I mean, they loved each other to death, but Jon always felt hurt that he wasn’t ever getting the recognition. And Joan, in that time, who became the head of this enterprise at a time when women had no power in television whatsoever, it was her vision to combine TV and education. No one had ever thought to combine education with television. I mean, it seems kind of simple to us now, but no one had ever done that before. So all of these people were breaking ground at every turn. And that’s what I love. The gang, you know, I love the title Street Gang because it was this gang of visionaries.

This is one of the most famous TV shows of all time. It almost feels like if we didn’t know who Norman Lear was. Maybe he has kind of a point that he doesn’t get a little more credit for this.

Absolutely. Absolutely. You know, when I met his daughters and started to talk to them about their family, about their father, they said, “No one has ever approached us to tell our father’s story before.” I don’t really know why he slipped through the cracks but I’m so happy that we have the opportunity to bring him out into the forefront. To his credit, he never took it out on the show. He remained. You know, some people would have said, “Well, if I’m not going to be appreciated by the public for this, maybe I should move on,” and never did. He stayed with it. He stayed with it until the end. Jon Stone died of ALS in the late ’90s. And until he could not work anymore, he stayed with that show. And it was the love of his life, for real.

‘Street Gang: How We Got To Sesame Street’ is currently in theaters and available via VOD this weekend. You can contact Mike Ryan directly on Twitter.

Tucker Carlson took a break from ceaselessly pestering Joy Reid (and calling her the “race lady”) to return to his COVID lies on Wednesday night. This follows up on his encouragement of viewers to harass people who wear masks outdoors, and Tucker got downright dangerous while one-upping himself. In the process, he decided to sow vaccine doubt (while also, in line with his usual disclaimer, saying that he believes “vulnerable” people should get shots) by pointing viewers toward the Center for Disease Control’s Vaccine Adverse Event Reporting System (VAERS), which (as the Daily Beast elaborates upon) is an open system in which anyone can submit an adverse report.

This could include hearsay, data on adverse effects and/or deaths that are sheer coincidence (and doctors are still required to report those), and incidents that are flat-out made up. Considering that CDC statistics show that anywhere from 7,000-8,000 people die in the U.S. on any given day, period (and elderly populations were prioritized for vaccines), it’s only to be expected that thousands of people who’ve been vaccinated will die from causes other than the vaccine.

The point being that Tucker shouldn’t report any numbers from the VAERS as fact or even suggest that these effects are the direct result of a vaccine, but yeah, he pretty much did both of those things while covering his butt by using terms like “apparently” and “almost certainly,” etc. Here’s what went down, which amounts to him suggesting that “30 people every day” and “almost 4000” people total have died as a result of the COVID vaccine.

“Between late December of 2020 and last month, a total of 3,362 people apparently died after getting the COVID vaccine in the United States. That is an average of roughly 30 people every day,” Tucker declared. “So….. what does that add up to? By the way, that reporting period ended on April 23, and we don’t have numbers past that… we can assume another 360 people at that rate have died in the 12 days since. You put it all together, that is a total of 3,722 deaths, almost 4,000 people who died after getting the COVID vaccine.”

Tucker went on to further suggest that “the actual number is almost certainly higher than that, perhaps vastly higher than that,” because (and here’s another baseless claim) “fewer than 1 percent of vaccine adverse events are reported by the VAERS system.”

Naturally, he added that he’s “not going to speculate” about the “real” number of people who have died after receiving the shot, even though that’s precisely what he’s doing. Well, Tucker managed to top himself, and people are disgusted at his “f*cking evil” fear-mongering, which seems to be running unchecked on his cable news network.

And the kicker:

Trent Reznor and Atticus Ross devote a lot of time to film scoring projects, but the two Nine Inch Nails members also manage to keep the band regularly productive with its output. In just the past few years, they’ve dropped three full-length projects: 2018’s Bad Witch and 2020’s Ghosts V: Together and Ghosts VI: Locusts. Now they’re back with more NIN material, and this time, it’s a collaboration with Health, “Isn’t Everyone.”

Aesthetically, the collaboration doesn’t come from an unexpected place, as the single features the harsh, electronic, industrial sound that both groups are known for. The song was co-produced by Health and Nine Inch Nails and mixed by Atticus Ross.

Health offered an appropriately laudatory quote about the collaboration, saying, “It’s f*cking Nine Inch Nails. That speaks for itself. You don’t need a clever quote to encapsulate it.”

The new song comes after a big awards season for Reznor and Ross. Their score for Soul (which they made alongside Jon Batiste) picked up an Oscar win for Best Original Score last week. Similarly, back in March, Soul got a victory at the Golden Globes in the Best Original Score – Motion Picture category. Their score for Mank was also nominated for both of the aforementioned honors.

Listen to “Isn’t Everyone” above.

Late Miami rapper XXXTentacion‘s estate is joining hip-hop’s crypto craze, announcing plans to turn his unreleased tracks into a series of NFTs, according to Rolling Stone. The estate will also release previously unseen tour footage in the format.

XXXTentacion’s estate and his manager Solomon “Sounds” Sobande tapped YellowHeart to create the tokens and artist Stephen Bliss to create unique art to accompany them. YellowHeart previously worked with Kings Of Leon on the band’s own NFTs earlier this year, while Bliss is best known as the artist for the popular video game series Grand Theft Auto, which was XXXTentacion’s favorite game.

Although YellowHeart did not share many details of the drop with Rolling Stone, the company did note that the collection will be launched with the company’s in-house online marketplace on May 10 at 12 pm ET, continuing through May 15 at 12 pm ET. YellowHeart did reveal that there will be five songs in the collection that were “all big on SoundCloud,” but that the estate was never able to monetize, according to Sobande. “Some of these songs aren’t even on his SoundCloud page anymore,” he said. “There are just the remnants of them being reposted. These were the songs that built his career and led up to the explosion he had.” The release will make the late rapper the first to have posthumously released music via NFT.

YellowHeart is also donating its portion of the proceeds to the XXXFoundation started in the late rapper’s honor, as well as to organizations helping women with domestic abuse, something XXXTentacion also did (before he passed, XXXTentacion was facing trial for his own brutal abuse of his former girlfriend).

On Wednesday night, Joy Reid ceremoniously dubbed GOP leaders (namely Lindsey Graham, Marco Rubio, and ‘Booger on the Lip of Democracy’ Ted Cruz) “The Absolute Worst” for their shameless hypocrisy and embarrassing exaltation of Donald Trump—a “Florida Man” with no official political power whom she described as “puttering around Mar-a-Lago grabbing every available mic and not even pretending to support the right-wing cancellation of Diet Coke.”

Though Reid wasn’t really telling viewers something they hadn’t already figured out themselves, the charming video she paired with the segment—which played out a little like one of those Sarah McLachlan-backed ASPCA commercials, but with the images of heartbreaking animals replaced by video clips of weasely sycophants—made it a must-watch moment.

“It’s the arms of the angel music for me.” @joyannreid calls the GOP’s spineless lovefest with Trump tonight’s absolute worst. #TheReidOut pic.twitter.com/uGO2NqnOQ9

— The ReidOut (@thereidout) May 5, 2021

In one part of the segment, Lindsey Graham is on Fox News asking people to enter a contest to win a trip to Florida to play golf with him and Trump—a scenario I thought only existed in one of my recurring nightmares. Then there’s Rubio on Newsmax praising all the great things he and ol’ Trumpy did together and how #45 is “the most popular and influential Republican in America.” Which, frankly, is a frightening statement.

The best part, however, isn’t even seeing Ted Cruz in full televangelist mode, praising the man who called his wife ugly and promising (read: threatening) that “Donald J. Trump ain’t going anywhere.” It’s Reid’s reaction to it:

“Those degrading displays of affection, lordy Jesus, are why Lindsey Graham, Marco Rubio, and especially Ted Cruz—who I’m pretty sure Trump still hates, because everybody does—are tonight’s ‘Absolute Worst.’”

You can watch the clip above.