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QAnon-loving Rep. Marjorie Taylor Greene recently attempted to distance herself from her most infamous conspiracy theories (like ridiculously claiming that Jewish space lasers causing wildfires), but not many people are buying it. She’s been banished from congressional committees, and CrossFit has tellingly denied any affiliation with her because, yeah, that’s totally self-explanatory. No one wants MTG to taint their brand with her rhetoric, yet she persists with even more bonkers theories each day, including what she’s ranting about in her crusade against vaccine passports.

Greene’s of the far-right opinion that vaccine passports shouldn’t exist for a few reasons. They’re steamed about certain states’ voter ID laws and are creating a false equivalency between those laws and a supposed double-standard with the mere idea of vaccine passports. Even more than that, Greene appears to be convinced that such a “passport” is actually “Biden’s Mark of the Beast.” As wacky as it sounds, Greene’s sticking with this argument. “They are actually talking about people’s ability to buy and sell linked to the vaccine passport,” she tweeted. “They might as well call it Biden’s Mark of the Beast.” She’s followed this up with several more tweets, including her insistence that “We WILL NOT COMPLY with Biden’s vaccine ‘passports’!”

The freshman congresswoman recorded a video (via RightWingWatch) to this effect and accused companies who require workers to be vaccinated of “corporate communism.”

Greene never seems to run out of energy. She’s been tweeting on the subject all day, and to paste them all here would be redundant, but here’s another silly leap in logic from her. She’s somehow trying to paint pro-choice Democrats as evil because they want to drop “my body my choice” while urging people to get vaccinated. This lady is the master of mixing-and-matching unrelated issues.

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.

When asked about how he’s been handling the last year of pandemic, Sacramento rapper Caleborate paraphrases Bruce Lee: “What I’ve been doing to keep things all together is just being like water.” The quote, which implores the listener to be flexible, malleable, and to go with the flow, aptly describes Caleborate’s music style as well. Although his new album, Light Hit My Skin, is ostensibly a hip-hop album, it’s also a genre-fluid affair that allows Caleborate to transform according to his whims and needs of the lush production. And yet, while water can fill a container or run like a river, it remains water — that’s a lesson Caleborate puts into practice here, as well.

So, while he tackles straightforward, storytelling rap on “Contact” with fellow indie rap stalwart Kota The Friend, he also spends several of the interludes — titled “Light 001,” “Light 002,” and “Light 003” — vocalizing like a praise leader on Sunday morning. He calls these his favorite tracks on the album. He demonstrates his versatility throughout; there’s the house-inspired, synth-pop experiment “Homecoming” with Duckwrth, the soft-rock ballad “Untitled (Hit Record),” and the post-hyphy intro “Cliquot Shower.” Each emanates authenticity — there’s no major label-mandated push for algorithmic ambivalence. Instead, Caleborate is like the titular light on his skin — a full spectrum of wavelengths and colors — all of them are not always visible, but they are the same beam of light.

Over the phone with Uproxx, Caleborate reflects on his unique artistic philosophy, other lessons he’s learned over the past year, and questions why, with such a multifaceted array of lights to choose from, mainstream hip-hop continues to constrain itself to just a few shades of red.

What have you been doing over the last year of quarantine?

I’ve been doing some Caleb work, some Caleborate work, some Mr. Parker work, you know what I mean. All different facets of me. Some work as a brother, as a son, as a businessman.

I’ve had a lot of time to reconnect with my family because before COVID and everything popped off, I was really planning to move to LA. My manager and I were about to move in together, he had found an apartment. We literally had gone to go see it the day before I came back to live in the Bay with my mom.

COVID kicked off right in March, so I ended up staying in the Bay. My manager ended up staying where he was located out in Pennsylvania. My workflow changed drastically. My plans changed drastically. Performances: Gone. And certain things that I had going in process for the album shifted up. So, I just kind of had to adjust my workflow and sort of catch my rhythm in the water. I just had to catch my rhythm.

That’s really what we’re here for is for the album, which has a very interesting title, Light Hit My Skin. Obviously, there’s probably a lot of layers to that. Why don’t you kind of give me a little bit of an overview of what inspired this title and the concept of the album?

It’s so many different types of light. We were listening to “The Madness” and we just keyed in on that line. We’re driving in the car and everybody keyed in on that line. It’s so multi-layered, it has so many different meanings. And I have a lot of different versions of the light that hit my skin, whether it’s on stage or out in the street or whether it’s cop lights cascading over our car or it’s phone flashlights taking pictures with people.

Or even the light in me if you want to get metaphorical. The light that I can shine is who I am and enlightening people. All the different forms of that word really hit me at that moment and it’s something that I referenced a few times in the album. So to me, it’s just all the different situations in which light hits my skin. I’m about to go into the grocery store right now and lights are about to hit my skin, they got fluorescent light in there, and that’s a setting for a story, a moment of life.

I love that you can find so many different ways of looking at such a simple phrase, that really speaks to your gift as a writer, which is one of the things that drew me to you as an artist. Speaking of lines that jump out, one that hit me was about how you used to wear hoop shorts under your jeans on “We Make.” It just sent me right back to my own high school experience.

Oh man, bro, man, that was a thing that we did back in middle school and high school, we stopped sophomore year of high school because we got real lockers. We would hoop before school, you would literally come to school dripped out, shorts on underneath your jeans, come to school a little bit early, take your jeans off.

You might put hoop shoes in your backpack or over your shoulder, the next thing, you’re hooping. And then we hoop for 15 minutes, put your jeans on. We had to buy our jeans a couple of sizes higher. You have to buy thinner shorts.

Those moments help teach you a little bit about who people are. And when you have a confrontation on the court and disagreements or you’re picking teams or you have to take initiative or share with teammates. It was just kind of these young man moments that I had reminisced on that I sometimes see the matured version of them in our culture.

So as an independent artist, you have a lot more control over what you put out and how you put it out. But because it’s coming out of your pocket, you don’t have the budget of a bigger artist. How do you go about executing without really having the same resources as major label artists?

Well, for me, it’s relationships. Keeping those relationships is invaluable because we’re the artists and whether you’re signed to a label or not, real artists can see each other. And so I’m blessed. There are other people that I meet that are blessed to do it that way, musically, whether it’s production or writing or singing or whatever, for the sake of music, I’m keeping them relationships.

I have a very strong core of artists that I’ve been working with and people that support me. And it’s definitely all based on music. Money is secondary, but money has come because of that. As far as reaching out to newer artists like Deante Hitchcock or working with Cantrell or working with Tone Sinatra or working with Duckwrth… I make sure that they’re compensated and make sure that their time is valued.

But first comes first, do they like to record? Do they want to be in this thing? Are they down for the ride of this record? And everybody featured on the project, man, they’re real artists. And so it’s just an honor to work with other people like that.

How have you adapted to not having a tour life over the last year? What’s something that you miss about touring and what something you don’t miss about touring?

Man, touring is this very bittersweet thing, absolutely love and miss traveling in general. The number one aspect of touring is being out with friends — three, four like-minded individuals — experiencing life together at a new point in time. And then when you compound making money and having a reason to be here, it’s amazing.

Traveling is great, but it’s also not great, it’s tiring. Also, “traveling while Black” is a thing, just like “traveling while a woman” is a thing — especially international travel. People look at you, look at what you’re wearing… That could be kind of draining, so that part of travel I don’t miss.

God took it away from all of these artists, all of us for a reason. So we’ll never forget it. That’s how I feel. But, yeah, I miss that and what I’ve been doing to keep things all together is just being like water and learning more to be like water.

The change in sort of workflow for the whole world really has sort of allowed for, I think, me and people like me maybe to focus on what’s in the now. “What can I actually do? What do I need to do? What’s something I need to be doing, what stuff I want to be doing? And how can I get what I need to get done in spite of what’s going on in the world?” And I’ve been learning a lot of stuff through just approaching stuff with that mentality.

As we wrap things up, I always like to ask artists this question because you have to get asked the same questions over and over again. What’s something that you want to talk about that you wish somebody had asked you?

That’s a really good question. I almost want the right person to ask. I want somebody to ask me, or even once someone to have a real, everything-on-the-table conversation about the history of hip-hop and rap music and its impact on the Black community, as far as things that are promoted in the music and how they correlate to health, violence as promoted in the music and how it correlates to crime rates, and trends that occur in the music industry as far as artists who perpetuate certain themes in their music.

Because I believe over time, hip-hop has gotten bloodier and bloodier and there’s been more money put into bloodier and bloodier music. And I don’t have anything against bloody music. It’s not my preferred genre. It’s not my preferred experience. But when something has been systematically controlled by capitalistic entities like major corporations that do billions of dollars in revenue every year and can invest hundreds of millions or 20 to 50 million into the specific genre of music… Maybe you can have conversations. I would just be interested in having that conversation.

Light Hit My Skin is out now on TBKTR. Get it here.

Ariana Grande surprised her fans today with the announcement she would join the judges’ panel on The Voice, replacing Nick Jonas. The singer said she’s “beyond thrilled, honored, [and] excited” to join Blake Shelton, John Legend, and Kelly Clarkson on season 21. In joining the cast, she’ll be the second-youngest person to coach the show’s collection of aspiring pop stars after Kelsea Ballerini, who joined in the 15th season and is three months younger than Ariana.

Some might see the move as unusual for Ariana, who is perceived to have a younger fan base than most of the other hosts by far, but perhaps her inclusion will lend some “cool” points to the competition show, which has helped launch the careers of plenty of singers but has yet to generate a ubiquitous pop presence like Kelly Clarkson, whose career started on the first season of American Idol. With her legion of Arianators tuning in, any singer co-signed by Grande will certainly have a leg-up on securing a young, long-term fanbase after the show wraps.

Some fans also view the casting as a savvy move for Grande, who was unable to tour with her most recent album, Positions, as a result of the COVID-19 pandemic. Working on the show could go a long way toward extending her career and expanding her fanbase since she’ll be centrally-located and able to work on music without worrying about performing, while still being visible to the show’s massive audience.

The Voice is currently in its 20th season. The air date for season 21 has yet to be announced.

In what might be the shortest wait yet for reality-warping animated series Rick and Morty, Season 5 is heading to Adult Swim just a little over a year after the conclusion of Season 4. Despite the pandemic, Rick and Morty Season 5 will start airing new episodes on June 20, and it’s already dropped a trailer for the upcoming batch of episodes that’s loaded with mad-cap sci-fi references to Voltron, Blade, and we’re pretty sure there’s a whole Hellraiser thing going on.

As for how Season 5 managed to arrive so quickly despite the show having infamously long waits before seasons, co-creator Dan Harmon revealed back in October that COVID restrictions somehow put Rick and Morty so on schedule, that the creators are actually ahead. Via SyFy:

“We’re more on schedule than we’ve ever been,” he said, admitting that the unprecedented digital workflow caused by the COVID-19 pandemic has actually been extremely beneficial to the show’s creation, while live-action projects have stopped and started. “It kind of makes you have to focus on the whole process when you don’t have this office environment anymore. Everyone has to run this bee colony remotely, so the honey just gets made more consistently. It’s working for us.”

Voice actor Chris Parnell also confirmed that Rick and Morty will have much shorter wait times thanks to creators Harmon and Justin Roiland locking down a 70-episode order from Adult Swim. “We’ll see less lengthy breaks between seasons going forward because of that,” Parnell told TVLine.

Rick and Morty Season 5 premieres June 20 at 11 PM ET/PT on Adult Swim.

(Via Adult Swim)

“Coconut Oil,” Lizzo’s 2016 self-love anthem, is the subject of a lawsuit recently filed by a church elder who claims his voice was sampled on the song without his permission, causing him “anguish, embarrassment, and outrage,” according to The Detroit News (Lizzo was born in the Motor City). Detroit resident Orlandus Dunning demands $750,000, saying that Lizzo sampled him singing a hymn at a mutual relative’s private funeral.

The lawsuit reads, “(Dunning) had a reasonable expectation of privacy and that his voice would not be heard publicly, as the funeral where he sang was held privately and open only to family and close friends… When Plaintiff sang the devotional, it was at a private funeral and done for the specific purpose of uplifting his family and friends during their time of bereavement.” Dunning says that he wouldn’t have consented to the use of his voice because of his beliefs; he’s an ordained elder in the Church of God In Christ and feels that the song’s messaging runs counter to his position — although he doesn’t say exactly how. The song’s mostly about Lizzo learning self-care, although she does say “sh*t” once on the record.

You can hear the song for yourself below.

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

The Mandalorian is currently the only original scripted Star Wars series on Disney+, but over the next couple of years, at least 10 more titles will debut on the streaming service, including The Bad Batch. A spin-off of The Clone Wars (which ended last year), the animated series follows an “elite and experimental” group of clones known as Clone Force 99, or the Bad Batch. There’s Hunter, Echo, Tech, Wrecker, and Crosshair, who “use their unique talents and specialized physiology to execute extraordinary solutions on the battlefield.” Other familiar Star Wars characters in the action-heavy series include Fennec Shand (played by Ming-Na Wen on The Mandalorian), Saw Gerrera (Forest Whitaker in Rogue One), and Admiral Tarkin, hopefully complete with CGI stink lines.

Here’s the official plot synopsis:

Star Wars: The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War. Members of Bad Batch — a unique squad of clones who vary genetically from their brothers in the Clone Army — each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew.

Star Wars: The Bad Batch premieres on Tuesday, May 4 (a.k.a. Star Wars Day), with a special 70-minute episode, followed by new episodes every Friday starting on May 7.

Demi Lovato has been open about her sexuality for years now. In her 2017 documentary Simply Complicated, she said, “I am on a dating app with both guys and girls. I am open to human connection, so whether that’s through a male or a female, it doesn’t matter to me.” Now she has offered another update about that part of her life, as she told Joe Rogan on a recent episode of his Joe Rogan Experience podcast that she is pansexual.

Lovato told Rogan she was considering adopting a child and continued, “I also don’t know if I’m going to end up with a guy, so I can’t really see myself maybe getting pregnant. I don’t know. […] I’m so fluid now and a part of the reason why I am so fluid is because I was super closeted off.”

Rogen then interjected to ask if Lovato meant she meant she was sexually fluid and Lovato responded, “Yeah, anything really.” Rogen replied, “What do they call that, like ‘pansexual’ or something like that?” Lovato affirmed, “Yeah. Yeah, pansexual.” She then continued, “I heard someone call the LGBTQIA+ community the ‘alphabet mafia’ and I was like, ‘That’s it, that’s what I’m going with. I’m going with that.’ So I’m a part of the alphabet mafia and proud.”

Check out a clip from the episode below.

Yes, Alexander Skarsgard is under no false impressions that you are looking forward to Godzilla vs. Kong to see the adventures of his character, a geologist named Dr. Nathan Lind. You see, Godzilla has been causing some problems for humans for unknown reasons and, just maybe, Kong can take care of business and let Godzilla know that his antics aren’t appreciated by means of a knuckle sandwich. And Dr. Nathan Lind has been studying Kong for years and has a good idea of what Kong’s motivations might be and what Kong actually wants.

So, yes … there are times where there is not a lot to talk about when even one of the lead actors in a movie admits people aren’t coming to see him or his character. Though from past interviews, I know Skarsgard has a pretty good sense of humor, so the real questions soon devolved into kind of outlandish fake questions and, luckily, Skarsgard ran with them.

Also, Skarsgard’s next film is The Northman, which is interesting for a couple of reasons. First, he teams with Robert Eggers, which will be the director’s followup to the acclaimed The Lighthouse. Second, it will completely screw up Google searches for True Blood fans searching for Skarsgard’s character, Eric Northman. And, yes, he’s thought about that and wonders how many people will show up expecting to see vampires. (There will be no vampires.)

It’s funny, because just the title of this movie, that isn’t false advertising.

Oh yeah.

Multiple fights.

It’s almost a two-hour-long movie, and it’s like an hour and 55 minutes of fighting.

So what’s this like for you? When you sign onto something like this? Because it’s Godzilla and Kong and they’re going to wind up getting a lot of the attention.

It’s humbling for a narcissistic actor like myself, to be put in my place, to show up on set and know that no one will go to see this movie because I’m in it.

Well, that’s not true. I have noticed over the years you do have a fan base that goes nuts for you.

That’s flattering to hear. But I’m under no illusion that I’m the star of the show and that anyone will go see the movie because they want to see Nathan Lind, the geologist.

The geologist.

Yeah, well, in a way, to be a vessel and a way for the audience to get to know, in my character’s case, Kong, more so than Godzilla, because I’m with Kong throughout the movie. But in a way to not necessarily humanize Kong, but to show a different side of Kong, to show that he has empathy. He’s lived a very solitary, lonely life on Skull Island without social connections, without family. And the thought of him to be reconnected, or to find his family in Hollow Earth is, is kind of the driving force, to reconnect. So I felt like my job was kind of set that up in a way and to kind of show the audience that side of Kong.

Well, you said people aren’t coming to see Dr. Nathan Lind, the geologist. But once here, where you tell me, how you’ve spent the last five years, studying with geologists and following them around and becoming a trained geologist yourself, people will look at this in a different way.

Right? Well, that’s how seriously I take my job.

You threw yourself into it. The last, maybe, ten years, you’ve been studying with geologists, just to know exactly what you were doing in this movie.

It’s just the kind of actor I am, Mike. Even though I play a very peripheral character and no one cares, I still take my craft seriously. And that means a decade of studying geology and living, breathing the character. Just to give the audience that sublime performance that I give in the movie.

When you’re giving the technical jargon during the movie, viewers can rest assured that you know exactly what you’re talking about, because you studied for so long with trained geologists.

Exactly. And they can see that in my eyes, that I’m not lying. I’m not pretending. I’m not acting. I’m not playing a geologist. I am a geologist.

You are a geologist.

Yes.

So when you filmed at Hollow Earth, in the center of Earth, was that on location?

Obviously, it was.

Yeah, I could tell.

And being there was trippy. I felt like you can’t … the audience can tell whether you’re there or when you’re actually there, or if it’s the soundstage with green screen. So the only way to do it, when you make a character driven drama, like Godzilla vs. Kong, is to actually go there and actually spend time down there and be there with Kong. So it was six very intense months, deep down in the center of the earth with a gigantic ape.

That’s why we haven’t seen you in a while — because you’ve been down there.

I’ve been down there, with a gigantic ape.

Being serious, doing the “there they are” reaction seems especially difficult in this movie, with these being such central characters. And I know that’s part of the deal with a lot of movies, but this seems even more that.

Absolutely. Watching the movie, I could tell that I’m reacting to the wrong thing, like I’m reacting to something else. And they play my reaction to something that I think I’m reacting to, but many things have changed. Or they use that reaction to something else. So they kind of make it work. So it’s like, I look at something, and I think I’m reacting to something completely different, but I’m not. They completely changed that. So it’s quite a ride and exciting to watch the movie, because I’m as surprised as the audience. When I watch it, like, “Oh really? That happened.” And, “Oh, look at my reaction here.”

The scene that we all saw in the trailer, which surprisingly happens pretty early in the movie, where Kong just punches Godzilla in the face. So do you watch the movie and go, “If that really would have happened in front of me, I might’ve reacted quite differently than I did even in the movie”?

Well, that specific sequence, they actually had in the pre-visualization, so that actually looks quite very, very, very close to what the previs two years ago looked. So Adam [Wingard] played us that. So pretty much the whole fight scene was choreographed before we shot our reactions to it. So I knew that that punch was going to land, and that’s what I’m reacting to.

We’ve given Dr. Nathan Lind a lot of time, and we’ve given King Kong a lot of time. We haven’t really talked about Godzilla. He gets annoyed when people bother him. I relate to that.

Me too. Going into the movie, I was very much team Godzilla. I love the old Godzilla movies, like the ’60s and ’70s, that era, when it’s zero special effects.

Just a guy in a suit and it’s awesome.

It’s a middle-aged dude in a suit, kicking a miniature version of Tokyo on a set.

In your next movie, you’re working with Robert Eggers, The Northman. You’re done filming that, right?

We’re done. Yeah, we shot for six months during the pandemic. We started last summer and finished just before Christmas.

Did you look at his prior movies and just go, “I have to be part of this.”

Well, I courted him. I loved both The Witch and The Lighthouse. And was developing The Northman and was trying to find a director for it. It was a very different iteration of the script, and the story was very different from what we ended up shooting. But I had a version of a viking movie that I wanted to make and basically went after Rob. He was my dream director and I thought that he would be perfect for this. And that, when I mentioned it to him, it turned out that he was a huge viking fan and knew everything about the mythology.

That doesn’t surprise me for some reason.

Yeah, he knew so much about that world and that era and got really excited about the idea of potentially making this movie. And then he found Sjón, this Icelandic author and poet and screenwriter. And Sjón and Rob together wrote the screenplay to what ultimately became The Northman, the movie that we shot. So it’s something on that was slowly percolating and growing over the course of eight years. So, to finally be on set last year, with the greatest filmmaker of our time and some of the greatest actors of our time, was the highlight of my career, for sure.

Have you thought about how this will screw up Google searches for your True Blood fans?

[Laughs] Yes, I am very much aware of how problematic the title is.

Well, not problematic. True Blood fans are going to have to put in a few other keywords now.

Yeah, that’s true. That’s true. I do apologize for that. And I’m sure some people will be pretty disappointed if they go to see a stand-alone movie about Eric Northman, and then they sit down and it’s a goddamn Viking movie and not a vampire in sight.

I think they’re in for a treat, to tell you the truth.

Well, I hope so. I hope so. I’m very excited about the movie, but I have to admit that, unfortunately, there are no vampires in the movie.

‘Godzilla Vs. Kong’ hits theaters and HBO Max on March 31st. You can contact Mike Ryan directly on Twitter.

Just when you thought “Whoopty” mania had reached its peak, Staten Island rapper CJ comes out of nowhere with a surprising new remix to extend the shelf life of his breakout hit. This time around, he offers a “Latin Mix” of his runaway drill smash featuring two of Latin music’s hottest stars in Anuel AA and Ozuna.

Rather than write a new verse for this version, CJ talks a little smack in Spanish then steps back to let his guest stars hold the limelight. Both Anuel and Ozuna go on extended, rapid-fire, bruising lyrical runs, with Anuel name-dropping Kobe Bryant and claiming he’s a real son of a gun while Ozuna flexes his watch collection and delivers a fatalistic outlook on life. The video, meanwhile, takes place at an underground fight club, which apparently has both male and female divisions for its brutal, bare-knuckle brawls.

The Latin mix is the second remix of CJ’s popular hit after the New Yorker shared a Big Apple-centric remix earlier this month featuring French Montana and Rowdy Rebel. The infectious beat for “Whoopty” has also provided the backdrop for a wide-spanning array of colorful freestyles from the likes of Compton’s Westside Boogie, Chicago’s Polo G, and Philadelphia’s Tierra Whack.

Watch the video for CJ’s “Whoopty Latin Mix” featuring Anuel AA and Ozuna above.

(SPOILERS from The Falcon and the Winter Soldier will be found below.)

The Falcon and the Winter Soldier ended its debut episode with a big surprise: Sam Wilson is not the new Captain America. Instead, he’s handed over the vibranium shield (as bestowed by Steve Rogers at the conclusion of Avengers: Endgame) to the government, who seemingly tossed it over to a rando. That rando would be John Walker, a.k.a. U.S. Agent, and (obviously) Marvel fans don’t dig the guy. Lots of “store-brand Captain America” jokes out there on Twitter. Although Walker’s got the super serum in his bod, he’s kind-of a lazy Cap, but the show’s really hammering that home to illustrate how eager the government was to get the shield out of a Black man’s hands, and Sam Wilson damn well knew it. Walker symbolizes white supremacy, even if he himself might also be a pawn of the government.

Well, new Captain America actor Wyatt Russell (son to Kurt Russell and Goldie Hawn) visited with Jimmy Kimmel and is aware of his character’s apparently random acquisition of his role. He’s also rather self-deprecating and freely admits that he’s got something in common with his character: being unprepared for the role. That is to say, one of the only MCU movies that he’s watched is Guardians of the Galaxy 2 (because Kurt’s in it). So, he knows who Star-Lord is, but that Thanos guy and his snapping? Get outta here. At least Sebastian Stan had some advice for Wyatt.

“I didn’t grow up knowing much about comics,” Wyatt admitted. “My heroes were athletes. So when I came on set, I was asking, ‘What does that mean?’ Or, ‘Who’s that person?’… and finally, Sebastian was like, ‘Dude, stop asking questions. You’re gonna get even more confused than you are… when you get answers, it’s gonna be worse.’”

Wyatta related how he tried to fake some knowledge for about 15 minutes while auditioning and then owned up to his lack of nerdiness. He then reasoned (after Kimmel asked if this was actually something that appealed to Disney+), “It kind of works for the character because he’s new, and he’s not part of the old universe, but it was semi-embarrassing.” Sounds like it, but yeah, it’s working to help get the John Walker vibe going.

Disney+’s The Falcon and the Winter Soldier streams new episodes on Fridays.