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When Billie Eilish gives you a co-sign, it’s only a matter of time until you go from “underground favorite” to “household name.” That’s the position Florida rapper Snot finds himself in as he releases his latest single, “Revenge,” with some help from alt-rap impresario Cole Bennett. Snot’s on the verge of superstardom and with the co-signs of two of Gen-Z’s favorite tastemakers, it appears his breakthrough is coming sooner rather than later.

As usual, Bennett’s Lyrical Lemonade adds an eye-grabbing touch to the clip for “Revenge,” combining Snot’s usual aesthetic — a black hoodie drawn tightly around his face — with the visual flair to make him stand out from the crowd (literally, in this case). The video also does a great job of explaining Snot’s appeal to his fans for outsiders and grown-ups, framing him as a misfit loner amid a sea of samey — and hostile — classmates in bright yellow hoodies.

It’s the classic teenage conundrum and at just 22 years old himself, one he’s not that far removed from. It’s why he’s become a favorite of the demographic that champions the outcasts and the malcontents. He speaks to that feeling of anxiety and angst that, let’s face it, pretty much every teenager feels (although it might just be amplified in Zoomers, considering *gestures at everything*). However, if he follows in the footsteps of other Cole Bennett co-signs like Lil Tecca, Cordae, Polo G, and Juice WRLD, he won’t be an outsider for much longer.

Watch Snot’s “Revenge” video above.

Strangers helping out strangers is always a heartwarming thing. But when lots and lots of strangers come together to help one individual who needs and deserves a little hand up, we get a much-needed flood of warm, gushy best-of-humanity feelings.

Such is the case of an 89-year-old pizza delivery man, Derlin Newey, who happened to win the hearts of the Valdez family after he delivered them a pizza and struck up a conversation. Newey had no idea his friendly demeanor and obviously stellar work ethic would soon make him a TikTok star, nor did he expect an outpouring of donations from perfect strangers that relieve some of his burden.

Carlos Valdez shared the initial pizza delivery video, taken through the family’s Nest doorbell, on TikTok about a week ago. “Hello, are you looking for some pizza?” Newey says when they answer the door, then chats with them for a while.

“What is this guy doing delivering pizzas? True hustler,” Valdez wrote when he shared the video. He decided to find out.

When Valdez discovered that the elderly man worked five or six shifts a week for Papa John’s, he and his family decided to do something kind for him. They set up a Venmo account for their TikTok followers to donate to—Valdez specified small donations of $.25, $.50, or $1.00—and they would just see what kind of a “tip” they could collect for Newey.

In a week, they raised an impressive $12,069 for Newey—and he had no idea. After a couple more deliveries (set up by the Valdezes on purpose so they could get more info), Newey invited the Valdezes to come share a meal at his house—because that’s just the kind of guy he is. And when they showed up they brought a big fake check.

Newey’s reaction is priceless:

They also gave him the cash in an envelope right then and there.

“How do I ever say thank you,” said Newey, clearly moved. “I don’t know what to say.”

Newey lives alone and says he works about 30 hours a week delivering pizzas because his social security check isn’t enough to support him.

“This couldn’t have gone any better,” Valdez told KSL. “He needed this. I’m just glad we could help him. We just need to treat people with kindness and respect the way he does. He stole our hearts.”

Valdez posted a follow-up thank-you video to his 60,000 followers on TikTok today.

“We did it. We all came together as a community to help a complete stranger that we didn’t know. With everything that’s going on in the world, I’m just glad that we pulled together, came together, to show some kindness during this time.” After thanking everyone, he said he’s received a lot of message from people who want to give something to help, so Valdez said he’s going to keep the Venmo account open for people to donate, with all of the donations going directly to Newey.

Well done, Valdez family. Thank you for introducing us to the delightful Derlin Newey, and thank you for reminding us that people can be such forces for good.

As it has every summer for the past few years, Celebrity Family Feud has returned for 2020, and the new season has yielded some memorable moments so far. Weezer and Fall Out Boy recently speculated what strippers in Hell might look like, and the latest episode saw 2 Chainz and Big Boi compete against each other.

The two rappers offered some insight into their lives with their answers to the question, “Name the last place you were when you got in trouble.” Big Boi’s response was “the club,” while 2 Chainz answered, “I was in traffic.”

Elsewhere on the show, Big Boi and his family (consisting of actual family members) were tasked with answering the question, “A cannibal not only likes to nibble on his date’s ear, he also likes to nibble on her what?” That was a classic Family Feud question designed to prompt a salacious answer for Steve Harvey to drop his jaw at, and Big Boi delivered, responding, “I’m gonna say ‘nips.’” He then clarified to a blank-faced Harvey, “Chest.” Yes, the answer was on the board (as “milk wagons”).

2 Chainz and his associates from his The Real University label went on to win the whole show, including an extra $25,000 for the Tru Foundation in the Fast Money round.

Watch clips from the episode above and below.

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

The next time you want to skip a workout, think of Ruth Bader Ginsburg.

The Supreme Court Justice and women’s rights activist, who died last week at 87 years old, was a “fitness icon” who worked out twice a week with her personal trainer Bryant Johnson — she was still lifting weights during the pandemic. “Justice Ginsburg does 10 pushups and she does not do the so-called ‘girl pushups.’ She does not use her knees. And then she stretches back for a very brief pause and she does 10 more,” Georgetown Law Professor Mary Hartnett told Politico in 2017. To honor Ginsburg, the first woman to lie in state at the U.S. Capitol, Johnson performed push-ups next to her casket on Friday:

As lawmakers and other mourners took turns bowing their heads or making signs of the cross to honor Justice Ginsburg, Bryant Johnson, an Army veteran who served as her longtime trainer, honored her with a different kind of gesture: He dropped to the floor before her coffin and did three full push-ups.

Ginsburg once jokingly (?) called Johnson the “most important person” in her life.

“I looked and said, ‘Justice, you left the president to come do the workout?’ And [she] said, ‘Yes, gotta do my pushups, gotta do my planks and my workout.’ I was like, ‘Yes, nice!’” Johnson told ABC earlier this year. “She’s never, ever told me can’t.” If you want to work out like RBG, as Stephen Colbert once did, the regimen is available here.

(Via New York Times)

Bryson Tiller released the deluxe edition of his fan-favorite debut album Trapsoul today/last night and to celebrate, he’s also debuted the video for one of the album’s standout songs, “Right My Wrongs.” As is only appropriate for a song from an album released in 2015, Tiller turns back the clock, dusting off his dad hat to recreate the experience of leaving for his first tour — and leaving his girl behind.

The narrative is interspersed with photos from that tour that make it look like he had a blast, so maybe he wasn’t too broken up about it, even if he does end the video in tears, crafting this very song after boarding the plane without his lady love. But the best part of the video may be the subtext subtitles — I have a theory that every movie, TV show, music video, and commercial needs them — showing the disconnect between the couple even as Bryson prepares to shoot to stardom.

The deluxe version of Trapsoul arrives on streaming services just as Bryson is in the middle of the rollout for his third album. So far, he’s released videos for “Inhale” and “Always Forever,” but hasn’t shared a release date just yet.

Watch Bryson Tiller’s “Right My Wrongs” video above.

Trapsoul (Deluxe) is out now via RCA Records. Stream it here.

In April of 2016, Sufjan Stevens made his Coachella debut. It came more than a decade after he recorded his lone inescapable hit song, “Chicago,” and two decades into a music career. The performance, which was set to kick off a massive festival run that would last that entire year, was ostensibly in support of his most recent album at that point, the delicate, pristine, and devastating Carrie & Lowell, an intimate reflection on his own childhood and complicated relationship with his family. Spare and solemn, its aesthetic couldn’t be more removed from Coachella’s maximalism, but Sufjan would hardly be the first musician to bring soft, nuanced sad-jams to the polo fields, following in a tradition that’s included everyone from Leonard Cohen to Fleet Foxes.

But then, on the Outdoor Theatre stage after dark, Stevens did something few expected. Sporting the elaborate angel wings and banjo that typifies much of his folkier work, he opened with the title track from his Christian-leaning 2004 album Seven Swans, concluding the dramatic tune by smashing said banjo into smithereens. From there, Stevens incorporated costume changes, neon lights, glow-in-the-dark aesthetics, and his glitchiest, most exuberant compositions into an unforgettable set. Only one song from Carrie & Lowell featured, but you know damn well his 25-minute Age Of Adz showstopper “Impossible Soul” occupied a solid third of the overall performance time. It wasn’t the evening that Stevens’ fans might have expected, but knowing the environment, the stakes, and his own varied history, he opted to deliver what was right for this particular moment, offering up a career-spanning set that showed he’s as comfortable performing with choreographed dancers as he is with orchestral arrangements.

This was not the first time Stevens has made it a point to underscore the breadth of his creative interests. The festival set wasn’t too far off from his colorful 2010 tour supporting Adz, and he’s long shown an aptitude for subverting expectations of his gentle, whispery work in collaborative projects like Planetarium with Bryce Dessner, Nico Muhly, and James McAlister and The BQE. On his latest proper LP and the direct follow-up to Carrie & Lowell, The Ascension, he’s once again taking a creative left turn, one that’s not unprecedented to him (Adz is an obvious point of comparison) and one that is distinctly appropriate for the hellfire of times it is being released into. The Ascension is not Sufjan Stevens playing to his strengths necessarily, but showing once again that he is a definitively playful artist that is never satisfied evolving incrementally and takes the greater moment into account

Of course, The Ascension is by no means light thematically. Stevens introduced the album in promotional materials by saying, “My objective for this album was simple: Interrogate the world around you. Question anything that doesn’t hold water. Exterminate all bullshit. Be part of the solution or get out of the way.” And it’s in this “editorial pop album” — his words — that some of the grace of Sufjan is lost. After the year that many of us have had, a rallying of the troops feels particularly exhausting, much like the endless calls to vote feel to those taking action directly to the streets. That’s not to say The Ascension will always sound as heavy-handed as it does roughly a month before the election and half-a-year into a pandemic — look no further than it’s sonic sister The Age Of Adz as a record from Stevens that resonates more than it did at the time — but at this precise stop on the calendar, the value of Stevens is less tied to his philosophy and more to the communal emotional outpouring of which he’s capable.

So while The Ascension might be a disappointment on that emotional level, Stevens delivers in many other departments. Created mostly by himself with drum machines and synthesizers and recorded on a computer, the album sounds more solitary than he ever has before — and that’s saying a lot for someone with an extensive solo acoustic discography. But where Sufjan has always felt like he is in direct conversation to the individual listener, The Ascension is a much grander statement, set to a canvas of Radiohead-esque heady experiments and Depeche Mode pop-industrial soundscapes. Even at its most fully-realized — the slow-building mantra-fied “Die Happy,” the massively unhinged opener “Make Me An Offer I Cannot Refuse” — Stevens always sounds like he’s speaking to the masses, creating something utilitarian at the risk of alienating those that flock to him for personal, calming communion. And this means when he offers up the one-note “Run Away With Me” or the radio-ready “Video Game,” Stevens has never felt so surface-level.

But while The Ascension certainly has its flaws, coming from one of the premier musical geniuses of our time, the album also has moments of inspiration seemingly touched by the hand of god himself. The record’s back half picks up dramatically, with the sprawling stretch of “Ativan” (complete with Silence Of The Lambs references), “Ursa Major,” “Landslide,” and “Gilgamesh” finally transport the listener fully into Sufjan’s world. “Ativan” in particular showcases Stevens’ vocal vulnerability, with his voice bending and reaching its upper limits until the tune devolves fully into noisy rubble. This returns when he belts out “landslide” on the song of the same name, with the artist seeming to realize that a house-of-cards composition is far more interesting and inviting than an impenetrable fortress.

And the album’s greatest highlights arrive near the end. The gothy lurch of “Death Star” is a less convincing version of St. Vincent’s Masseduction, but it’s all misdirection once the warmth of “Goodbye To All That” explores the reciprocal of the same territory. It’s in this moment that Stevens is most sure of himself, able to cast his familiar melodic structure in gold. Singles “Sugar” and “America” also arrive at the end, universes unto themselves that are so all-encompassing, they risk eclipsing the journey that brought the listener to them. And then there’s my personal favorite, the glorious title track, which is sole song on the album that would be most comfortable on any of his previous releases. That’s not to say it doesn’t fit into the adventurous soundscape of this album, but much of Stevens’ best career work feels unstuck in time and unobligated to its current musical climate. It’s a slow-burn and a gut-punch at once, familiar and unique, and possibly the most in tune with the world that the album descends on: “I thought I could change the world around me / I thought I could change the world for best,” he sings, before gaining strength in the realization things are far more complicated than the best of intentions can solve.

The Ascension grapples with the world in the same way that most of us are: in our room, alone, detached from our usual outlets but looking to strengthen bonds through this shared experience. But ultimately its usefulness is distinct from the intentions that it was created. Like that Coachella performance, Stevens typically balances what interests him and what makes sense for the moment, and The Ascension follows this roadmap to varying success. The album won’t likely empower you to surviving some of the darkest moments in recent history, but gives a snapshot of how one of our most beloved figures is processing. And like his last adventurous solo album, The Age Of Adz, this album leaves the impression that its majesty might grow in time, once freed from the turbulence of 2020. Personally, I can’t wait.

The Ascension is out now via Asthmatic Kitty. Get it here.

Hulu’s giving us plenty of nightmare fuel this month, so even if Halloween doesn’t happen this year, at least you’ll have plenty of terrifying shows to bingewatch. The most anticipated of these might be Monsterland, an anthology series with an impressive cast, but Britt Robertson’s horror movie, Books of Blood, also looks appropriately chilling. Here’s everything coming to (and leaving) Hulu this October.

Monsterland (Hulu series streaming 10/2)

This terrifying anthology series based on the stories from Nathan Ballingrud’s North American Lake Monsters feels like the perfect way to kick off the month, and it’s got an all-star cast ready to give us all the nightmares — think Kelly Marie Tran, Kaitlyn Dever, and Mike Colter.

Books of Blood (Hulu film streaming 10/7)

Another chilling take on a set of short stories, this time from writer Clive Barker, drops this month in film form. Britt Robertson stars as a young woman drawn to a creepy bed and breakfast, but there are also mediums and hauntings peppered throughout this thing.

Helstrom (Hulu series streaming 10/15)

Tom Austen and Sydney Lemmon play a brother-sister duo hunting bad guys in this new crime thriller. Daimon and Ana Helstrom’s job is to find the worst of humanity, and they’re pretty good at it — probably because their dad was a prolific serial killer.

Here’s the full list of titles coming to Hulu in October:

Avail. 10/1
90 Day Fiancé: Before the 90 Days: Complete Season 4
90 Day Fiancé: Complete Season 7
All-Star Halloween Spectacular: Special
Bizarre Foods With Andrew Zimmern: Complete Seasons 9 & 10
Bride Killa: Complete Season 1
Cutthroat Kitchen: Complete Season 13
Dr. Pimple Popper: Complete Season 4
Going for Sold: Complete Season 1
Guy’s Grocery Games: Complete Seasons 18 – 20
Halloween Baking Championship: Complete Seasons 1 – 4
Halloween Wars: Complete Seasons 3 – 8
Hell’s Kitchen: Complete Season 18
Homicide City: Charlotte: Complete Season 1
Homicide Hunter: Lt. Joe Kenda: Complete Season 9
Man with a Van: Complete Season 1
Moonshiners: Master Distiller: Complete Season 1
Murder Comes Home: Complete Season 1
My 600-lb Life: Complete Season 8
My Feet Are Killing Me: Complete Season 1
Property Virgins: Complete Season 18
Supermarket Stakeout: Complete Season 1
Sweet 15: Quinceañera: Complete Season 1
The Flay List: Complete Season 1
Twisted Love: Complete Season 1
31 (2016)
A Beautiful Mind (2001)
Across The Line (2015)
After Life (2010)
Anti-Trust (2001)
Blade (1998)
Blade 2 (2002)
Blade: Trinity (2004)
Blood Ties (2014)
Blue City (1986)
The Curse Of Downers Grove (2015)
Deep Blue Sea (1999)
The Do-Deca-Pentathlon (2011)
Double, Double, Toil and Trouble (1993)
Drugstore Cowboy (1989)
The Executioners (2018)
The Express (2008)
The Eye (2008)
Fallen (1998)
Girls Against Boys (2013)
Good Hair (2009)
Guess Who (2005)
Hostel (2006)
Hostel: Part II (2007)
House Of 1000 Corpses (2003)
The Hurt Locker (2009)
Ice Age: The Meltdown (2006)
Interview With the Vampire (1994)
Joe (2014)
Judy & Punch (2019)
Kicking & Screaming (2005)
Killers (2010)
Lady in a Cage (1964)
Mad Max Beyond Thunderdome (1985)
Martyrs (2016)
Mud (2013)
Nurse 3D (2014)
The Pirates! Band Of Misfits (2012)
The Portrait of a Lady (1996)
The Quiet Ones (2014)
Raging Bull (1980)
The Sandman (2018)
Senorita Justice (2004)
Sk8 Dawg (2018)
The Skull (1965)
Snakes On A Plane (2006)
Spaceballs (1987)
Species (1995)
Superbad (2007)
Thanks for Sharing (2013)
Tooth Fairy (2008)
Triumph of the Spirit (1989)
Vampire (2011)
Wayne’s World 2 (1993)
When A Stranger Calls (2006)
William Shakespeare’s Romeo + Juliet (1996)
Zombie Killers: Elephant’s Graveyard (2015)

Avail. 10/2
Monsterland: Complete Season 1
Connecting: Series Premiere

Avail. 10/3
Ma Ma (2015)

Avail. 10/4
Saturday Night Live: Season 46 Premiere

Avail. 10/5
Dragon Ball Super: New Episodes 1 – 131 (DUBBED)

Avail. 10/7
Books of Blood: Film Premiere
Ellen’s Game of Games: Season 4 Premiere
Next: Series Premiere

Avail. 10/8
Scream 4 (2011)

Avail. 10/9
Terminator: Dark Fate (2020)

Avail. 10/11
Infamous (2020)
Savage Youth (2018)
Scotch: A Golden Dream (2018)

Avail. 10/12
The Swing Of Things (2020)

Avail. 10/14
The Bachelorette: Season 16 Premiere

Avail. 10/15
The Purge: Complete Season
Treadstone: Complete Season 1
Bad Roomies (2015)
High Strung (2016)
It Came from the Desert (2017)
Playing with Fire (2019)
The Escort (2016)
Helstrom: Complete Season 1

Avail. 10/16
The Painted Bird (2019)

Avail. 10/17
Shark Tank: Season 12 Premiere
Momma Named Me Sheriff: Complete Season 1
Mr. Pickles: Finale Episode

Avail. 10/18
Friend Request (2016)

Avail. 10/19
America’s Funniest Home Videos: Season 31 Premiere
Card Sharks: Series Premiere
Supermarket Sweep: Series Premiere
Who Wants To Be A Millionaire: Season 2 Premiere

Avail. 10/20
The Voice: Season 19 Premiere
F*ck That’s Delicious: Complete Season 4

Avail. 10/21
Cyrano, My Love (2019)

Avail. 10/22
Black-ish: Season 7 Premiere
The Conners: Season 3 Premiere
The Goldbergs: Season 8 Premiere
Bad Hair: Film Premiere

Avail. 10/23
Superstore: Season 6 Premiere

Avail. 10/26
Homeland: Complete Season 8

Avail. 10/27
What to Expect When You’re Expecting (2012)

Avail. 10/29
American Housewife: Season 5 Premiere
Bad Therapy (2020)

Here’s what’s leaving Hulu in October:

Leaving 10/31
31 (2016)
52 Pick-Up (1986)
A Good Woman (2006)
After Life (2010)
An American Haunting (2006)
An Eye for a Eye (1966)
Any Given Sunday (1999)
Australia (2008)
The Bellboy (1960)
Blade: Trinity (2004)
The Bounty (1984)
The Brothers McMullen (1995)
Bug (1975)
Captain Kronos: Vampire Hunter (1974)
Cheech & Chong’s Still Smokin’ (1983)
Cinderfella (1960)
The Curse Of Downers Grove (2015)
Downhill Racer (1969)
The Executioners (2018)
Footloose (1984)
Forgetting Sarah Marshall (2008)
Frankenstein and the Monster from Hell (1974)
Girls Against Boys (2013)
Girls! Girls! Girls! (1962)
Gloria (2014)
Hellraiser (1987)
Hostel (2006)
Hostel: Part II (2007)
Hot Rod (2007)
The Impossible (2012)
Legend Of The Guardians: The Owls Of Ga’Hoole (2010)
Life of Pi (2012)
The Man Who Could Cheat Death (1959)
Margin Call (2011)
Martyrs (2016)
Master and Commander: The Far Side of the World (2003)
The Patsy (1964)
The Pawnbroker (1964)
Phase IV (1974)
Psycho Granny (2019)
The Quiet Ones (2014)
Red (2010)
The Sandman (2018)
Sleeping with the Enemy (1991)
Sliver (1993)
Spaceballs (1987)
Stuck On You (2003)
The Tenant (1976)
The Terminator (1984)
Trapped Model (2019)
Trapped: The Alex Cooper Story (2019)
Twilight (2008)
The Twilight Saga: New Moon (2009)
The Twilight Saga: Eclipse (2010)
Twilight Saga: Breaking Dawn Part 1 (2011)
Twilight Saga: Breaking Dawn Part 2 (2012)
Ultraviolet (2006)
Vampire (2011)
Victoria Gotti: My Father’s Daughter (2019)
Walking Tall (1973)
When A Stranger Calls (2006)
Zombie Killers: Elephant’s Graveyard (2015)

On the new episode of Indiecast, Steven Hyden and Ian Cohen dissect the new albums by two very successful indie acts who originated in the aughts: Sufjan Stevens’ The Ascension and Fleet Foxes’ Shore. While the rollout of The Ascension took on a more traditional approach, the arrival of Shore came as a surprise, with the release timed perfectly to coincide with the autumnal equinox on September 22nd at 9:31am EST.

While Hyden was initially resistant to Sufjan Stevens’ early work and Cohen felt similarly about Fleet Foxes’ early work, both have come around to the recent releases from each respective artist. The Ascension is some of Stevens’ darkest and angriest music to date, and Shore represents Fleet Foxes at their most attainable and melodic.

In this week’s recommendation corner, we have the new self-titled album from Teenage Halloween and the long-awaited new Deftones album Ohms. Ahead of the new Deftones album, Hyden sat down with the band’s frontman Chino Moreno to go through their entire discography and find out how their latest compares to what came before.

New episodes of Indiecast drop every Friday. Listen to Episode 9 below and subscribe wherever you get your podcasts here. Stay up to date and follow us on Instagram and Twitter.

2020 is not like the years that preceded it. Live in-person entertainment is pretty much over for the time being, people can’t get enough of washing their hands, and leaving the house is not to be taken lightly, since that simple act could put lives at risk. On top of all that, Vin Diesel is a singer now.

The Fast & Furious actor just released his first song, “Feel Like I Do,” and the single actually isn’t the worst thing; It’s a completely passable tropical house track. What was funny, though, was the song’s premiere on The Kelly Clarkson Show. Clarkson announced the track on the program, and before playing it, she shared a video of Diesel briefly speaking about the song. That was innocuous enough, but as Uproxx’s own Josh Kurp has pointed out, the moment that followed was surreal.

Kurp shared a clip from the episode and wrote, “The virtual Kelly Clarkson Show audience members awkwardly dancing to Vin Diesel’s new song is the funniest thing I’ve seen in weeks.” After Clarkson introduced the track, the show cut back and forth between a still image of the single art and shots of Clarkson’s audience, which was made up of virtual fans on vertically oriented TVs scattered around the studio. As the song played, the crowd awkwardly moved their limbs and torsos to dance along with the track.

This all came together to create a moment that was emblematic of how 2020 has been, so check it out above.

The last time we saw John Oliver (while he wore an award-worthy hoodie), he was graciously accepting Last Week Tonight‘s fifth consecutive Best Variety Talk Series award at the Emmys. He was thrilled, so much so that he forgot to thank the object of his obsession, “f*ckable redwood” Adam Driver, but after the excitement cooled down a bit, he took a few minutes to reflect upon his real “dream” for this year. And considering the dumpster fire of 2020, it feels like this is the right year for this type of goal.

I’m referring, of course, to Oliver’s pursuit of having a sewage plant in Danbury, Connecticut named after him. That strange turn of events involved Oliver becoming embroiled in a mock feud with the city and mayor Mark Boughton calling Oliver “full of crap” while faux-threatening the sewage plant rechristening. Well, Oliver was delighted but not pleased to later learn that this was only a joke, so he moved to open his wallet (and the mayor was like, nope, that’s not quite good enough, you gotta promise to show up for a ribbon-cutting ceremony, too).

Post-Emmys, Oliver has now followed up on achieving this goal, which must feel like a marathon by now. Oh, he wants it, as he told Access Hollywood (by way of Variety). He suggested that things are now going his way with the mayor. “My dream this year is to have a sewage plant named after me in Danbury, Connecticut,” Oliver gushed. “And I’m close. I feel like I’m real close.” Oliver added that he doesn’t have “full news” yet on the subject, but he feels that the current chain of events is “very promising.”

Hey, we all have dreams, and it’s hard to judge anyone’s dream in 2020, given our current situation. John Oliver’s keeping his eye on the ball, for which he previously doubled down in late August. “Listen, I didn’t know that I wanted my name on your sh*t factory,” he declared. “But now that you floated it as an option, it is all that I want.” He then threatened to take his sign elsewhere in Connecticut if Boughton and the city council didn’t grant him his wish.

Uhhh, it kinda looks like this is really happening, if Oliver’s follow-up after the Emmys is to be believed? Maybe we’ll hear more about this “sh*t factory” when Last Week Tonight airs a new episode this Sunday.

(Via Access Hollywood and Variety)