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YG’s latest video from My Life 4Hunnid, his upcoming final album on Def Jam, is “Out On Bail.” True to its theme, the video finds YG leading a police chase and participating in all the activities one would expect of a recently-released former resident of the criminal justice system. He visits the strip club, kicks it with it his homies, and laments friends he’s lost along the way: “Beefin’ with my homies, all I think about is Nipsey,” he intones on the hook.

The video is also filled with police imagery, surrounding the rapper with squad cars that seem to be closing in on him. It’s a fitting reflection of his mindstate over the past year, which saw him arrested for alleged involvement in a robbery and reminiscing on being threatened by cops’ guns with his kids nearby. His own experiences with law enforcement intertwined with a growing sentiment of resentment toward police and their methods on his song “FTP,” although YG drew criticism for using footage of a vigil for victims of police violence in his video for the track.

My Life 4Hunnid is the last album of YG’s Def Jam contract. It’s due 10/2.

Watch YG’s “Out On Bail” video above.

After HBO’s Watchmen swept the Emmys on Sunday night, showrunner Damon Lindelof sat down with Variety to talk about the groundbreaking limited series and how his experience on that show compared to the last time he scored big at the Emmys with another hit: ABC’s Lost.

For starters, going into the Emmys with Watchmen sounds like it was a lot more enjoyable. When the first season of Lost won, Lindelof had little time to savor the surprising moment (The show was not a favorite to win.) because he was knee-deep in making new episodes for season two due to the show’s frantic production schedule. With Watchmen, the series was already wrapped, and Lindelof has been steadfast on not returning for another season.

However, the whole experience of working on Watchmen and sweeping the Emmys has Lindelof reflecting on Lost, and he shared that his biggest regret is giving into the idea that the finale didn’t stick the landing. Via Variety:

“I didn’t invent the narrative that the finale was empirically bad, but I amplified it,” he says. “The fact that people feel the need to say to me, ‘Hey, I actually kind of liked the way that it ended.’ Or the expectation some people have that ‘I have to know going in that the ending is going to be disappointing.’ The fact that I told people what to think about ‘Lost’ is a big regret that I have.”

In recent months, Lindelof has spoken more positively about the controversial ending to Lost. While he admits that show went overboard with stacking mysteries that would never be fully solved, he’s still very proud of the “flash-sideways” that the writers were able to pull off in the final season. The narrative trick involved writing backwards for the last three seasons after getting the all-clear from ABC to end the series, which was no easy feat. The network wanted Lost to air for years to come, but fortunately, Lindelof and the other creators were able to convince ABC to give the show a cohesive ending, rather than run the characters’ journey into the ground.

(Via Variety)

Like a lot of musicians, Idles discuss political and social issues in their music, which has drawn criticism from some of their peers in the UK rock scene, as Stereogum notes.

Last year, Sleaford Mods leader Jason Williamson explained why he doesn’t care for Idles, accusing them of “appropriating, to a certain degree, a working class voice.” After that, Fat White Family chimed in, agreeing and writing in a Facebook post, “The last thing our increasingly puritanical culture needs right now is a bunch of self neutering middle class boobs telling us to be nice to immigrants; you might call that art, I call it sententious pedantry.”

Months later, in a Guardian interview published last week, Idles’ Joe Talbot addressed the situation. He insisted, “I’m not virtue signalling. I’m not hiding behind any sort of surrealist bullsh*t. I’m saying: this is what I believe in. I don’t think our message comes across as well [on paper]. People think: ‘F*ck off, you cheesy bastards.’ We’re a band that has to be seen to be believed. You come to our show and you believe us.”

He added that he was bothered by what Williamson and Fat White family said, noting, “I do hold on to those grudges. Their grudges, not my grudges. They make me powerful. It makes me angry. I was a very violent person. So yes, one day I genuinely had to stop myself driving up to London and finding him [Fat White Family leader Lias Saoudi] because I go through fits and pangs of, like: ‘F*ck off, just leave us alone.’”

That prompted a response from Saoudi, via an essay for The Social that was published yesterday. He began, “Given Joe Talbot’s comments relating to my shameless trolling in the Guardian last week, I’d like to take this opportunity to clarify my position.”

He started with a backhanded compliment: “In a way I’m grateful to the band Idles, for no other phenomenon in music over the last few years elucidates more clearly the brazen inconsistencies of the US import social justice faith currently permeating every facet of our culture. This is a band that purports to be about unity and zero tolerance of prejudice of any kind, yet feels it necessary to pour scorn on anyone that comes from a small town that hasn’t quite managed to adopt the same middle class metropolitan point of view they call their own.”

Elsewhere, he said the band is emblematic of a larger trend, writing, “The group represent everything that is wrong with contemporary cultural politics, with a left to whom the future used to belong, in defeat now collapsing into whimsical utopianism. A left in love with its own marginality. Theirs is the sound of an inverse solidarity, one that revels in the sanctimonious condemnation of people not quite up to speed whilst offering up no valid counter strategy. Languishing at the bitter end of the philosophical quagmire of individualist fundamentalism that came to define the previous century, in a world of increasing brutality and confusion, personal failure is now most easily drowned out in illusory collective action.”

He wrapped up by extending something of an olive branch to the group by noting that he admired the intensity the showed in an early live performance of theirs that he saw: “I don’t want to finish on a sour note. I’ve got no interest in beefing with this group of individuals, only what their huge popularity represents where politics infringing on art is concerned. For me, straight down the middle post-post-punk represents a collapse into nostalgia, born out of a refusal of the present, in a world where the future has been all but cancelled. That being said, when I saw the group play a tiny venue in France a few years back, just before they blew up, it was obvious they were pouring every fibre of their beings into the performance. Anyone willing to sweat nuts and bolts on stage like that, regardless of the underlying message, deserves our respect, and for that I duly salute them. If Joe wants to get in his car and drive to London to mete out some form of rough justice on account of my expressing my opinion about his group that’s fine with me.”

Read Talbot’s Guardian interview here and find Saoudi’s full essay here.

Tuesday was National Voter Registration Day and with the presidential election just around the corner, many musicians used their platform to urge fans to check their registration status. Artists like Grimes and Bon Iver’s Justin Vernon launched a contest to meet fans who signed up to cast a ballot in the upcoming election, but Lil Dicky took things in a slightly different and more NSFW direction.

Lil Dicky is known for making jokes about his own “lil dicky.” Whether he’s addressing it in his popular FX series Dave or in his music, Lil Dicky never fails to keep his genitalia out of the conversation. That’s why when National Voter Registration Day arrived, the rapper knew exactly how to get fans to flex their civic duty: Lil Dicky promised to post his penis on social media if fans register to vote through a link on his Instagram page. “if you register to vote, I will spread my legs wide and release my penis in a subsequent post,” Lil Dicky wrote in a post. “This is the most important election of our lifetime. Step up. Your vote legitimately matters.”

While it’s likely Lil Dicky’s nudes will be pulled from Instagram almost immediately, it definitely caught the attention of his fans and quickly became one of his most-liked posts in recent weeks. Surprisingly, Lil Dicky wasn’t the only musician to pose naked in the name of voter registration. Diplo similarly dropped his drawers in a social media post, writing: “Don’t forget to register to vote.”

Two things I learned about Billy Ray pretty quickly into this interview. First, Ray – who has co-written or written movies like Captain Phillips, Richard Jewell, and The Hunger Games and has now directed the two-part Showtime series The Comey Rule, which explores James Comey’s infamous pre-2016 election announcements and his eventual firing by Donald Trump – knows that it will be a truly bi-partisan effort to hate-watch The Comey Rule. He’s not naive.

The second thing is Ray doesn’t love it when you bring up his 1997 effort for the Tommy Lee Jones vehicle Volcano, in which we find a Volcano erupting in the middle of Los Angeles. (Honestly, if that happened in 2020 would that really surprise anyone at this point?) Ray calls it, “the embarrassment of his career,” yet at the end of this interview he decided to share a pretty humorous story about the experience.

Ray’s hope is that when you tune in to Showtime this Sunday to hate-watch the first of two parts, that it wins you over. Ray was meticulous on the details (Bob Woodward’s new book, Rage, portrays many events going down the same way, often word for word), knowing there’s a bullseye on his back and saying that pretty much every word in the script had to be approved by Showtime’s legal department. Jeff Daniels plays Comey as stoic and, at least, attempting to do the right thing, even though it all turned out to be a disaster. But, as Ray says, the film does put the viewer in the shoes of the former director of the F.B.I and at least tries to explain why Comey did the things he did. And that Comey’s options were more limited than we might all realize. Brendan Gleason plays Trump and Ray explains why Gleason (and many other actors) said no at first and why he eventually said yes.

I want to say this as nice as possible, but there’s a big part of me that didn’t want to watch this. Did that go through your mind even making it? Do I want to relive this?

No. At least for me, it was incredibly therapeutic. I know that sounds like a West Coast liberal word, but that election had a pretty profound effect on me and I had a lot to say about it and this was one way to do that. You know what, will you scratch the word “therapeutic” and replace it with “cathartic”?

You do make a case for why he did what he did with the announcement before the election. That if he didn’t, it would leak and be worse.

As I placed this series within the context of other things I’ve made in my career, it seems like I keep being drawn to stories that people think they know before they actually start to watch.

It would be funny if you were talking about Volcano.

Oh no … you dropped the V-word on me. Goddammit. I’ll never outlive that one.

What are you talking about? If that’s on TV, I will watch it.

That movie is one of the embarrassments of my career, but that’s very sweet of you. Anyway, everybody who was alive in 2016 has it so burned on their subconscious that they think they know exactly what happened, but here was this opportunity to go inside the rooms where decisions were made that so profoundly affected all of us. Not just America, but the world more broadly, and a chance to be Jim Comey for five minutes. When I first learned the name James Comey in the 2016 election, I hated that guy. I thought he had to be just an active member of the Trump for President campaign. And I would hasten to point out that, while I’m sure our show is going to be hate-watched by both the left and the right, I would challenge anybody in America to point to a single thing Comey had said in public that has been proven false, or even close to false.

I feel like you are almost more critical of his first statement where he says the investigation’s over, but then goes onto say she was irresponsible, than the one about reopening the case right before the election.

I think he didn’t have a choice based on what Giuliani was about to leak and based on the number of Hilary haters. Here’s what I will say about the original press conference about the closing of the Hillary case. Director Comey knows this because I told him. I wish that I had known him in 2016, and I wish that I had been a part of his staff. I would like to have done a rewrite on that statement. I would like to have come in for a polish on that one, because I think the results could have been very very different if handled differently.

Do you think Comey got played by Giuliani? That Giullani was bluffing about leaking that the investigation was reopened?

I have no doubt that Giuliani was going to leak it.

Some people think Giuliani did some sort of masterstroke and forced Comey’s hand into doing that.

Anybody who thinks that Giuliani is capable of masterstrokes is not paying attention. That guy is a fool.

That’s fair. Brendan Gleeson’s version of Trump, that seems like a tough gig. Where do you even begin?

Whoever you’re going to approach to play that part has to check a lot of boxes. They have to be a great actor, that’s the first thing. They have to be completely fearless, that’s the second thing. They have to bring a certain level of physicality to it, that’s the third thing. And they have to want to do it, which is really tough. The first time we went out to Brendan, he passed. There were actors who passed without even reading. They just were too afraid to take it on. But then, happily, Brendan came back and said he would do it. He and I had a lot of conversations about playing Trump not as a villain, not as a bad guy, not as a cartoon, but just as a human being where his actions define him. Then, I left it up to Brendan to get the voice right and to get the movements right. And the first time I ever heard him do the voice was actually the first time he ever did it on the set.

It’s kind of scary how good it is, the voice…

It was unbelievably scary.

We are also used to the parody version of Trump’s voice, as opposed to his actual voice.

That was another conversation. Look, we are going to be the first, and perhaps only, dramatic interpretation of Donald Trump ever. That’s a real responsibility, and we can’t do this as a cartoon. And he didn’t want to do it as a cartoon.

Oh, I bet we get more. A lot of the stuff he does is going to have repercussions for a very long time.

Oh, I agree, and I actually think as a nation and as a culture, we are going to be reexamining these four years for decades to come, if not generations to come. However, I also think that what Brendan has done is so singular, I can’t imagine why another dramatic actor would want to take on that part after this because they will all be fighting for second place.

I did notice his hands are way too big for Trump. And I’m not trying to make a joke. I actually noticed this.

Well, there’s nothing we could do about that.

The other thing, what’s frustrating about Trump is sometimes he’s actually funny. He can be charming, which I suspect is something that appeals to people. We don’t see that side here.

Remember, the scenes that I’m depicting are scenes in which Trump is opposite my protagonist, James Comey, and in those scenes, Trump was neither charming nor funny. It would be bad reporting to depict him otherwise.

James Comey’s family basically hates him in this movie.

They adore him.

I don’t doubt that, but they were very upset with him.

He is absolutely a family man to his core. They completely adore him and I think the series demonstrates that, but yeah, they’re upset with him. They disagreed with a lot of what he did, and things that he did made their lives materially more difficult.

I’m currently reading the Bob Woodward book. Have you read it?

I just haven’t had the time.

It’s pretty amazing how his reporting matches up exactly with your series, almost word-for-word.

I’m not a journalist, I’m not a documentary filmmaker, so I don’t want to pretend that I am. That said, of course, we knew that we were putting a giant bullseye on our own back by making this. We all knew from the start that we had to get it right. When you make a movie like this, CBS, before they greenlight it, they make you footnote the script to talk about what your sources were and where you got a certain piece of information and what that inference refers to. This thing was lawyered to death before it went before the cameras.

The Comey Rule is not kind to Rod Rosenstein, played by Scoot McNairy.

I’ve concluded that since we finished the series, I probably took it too easy on Rosenstein.

That is not what I was thinking when it was over, that you took it easy on him.

We learned more. More reporting has come out since we finished shooting about what his real intentions were in terms of Mueller investigation and just how much he politicized his own office. We didn’t go there. Had I known more going in, I absolutely would have.

But you do present him as almost having a nervous breakdown. People are going to walk away with a different opinion of him regardless after they watch this.

That’s fine with me. I’m just saying, with another nine months, I would have known a little bit more about him and I would have played him slightly differently. That said, I’m over the moon about Scoot McNairy’s performance. He’s just extraordinary.

The ending you give this … you said cathartic earlier. It felt cathartic watching that.

What’s funny is I’ve now shown the series to a lot of people, and so many of them on the way in say, “Oh, God. I don’t know if I’m ready to relive this yet.” By the time they’re done watching it, they feel oddly hopeful. Even though people may feel a little intimidated by the subject matter, by the time they’re done watching it, they feel a little bit more American, and that was the goal.

You obviously spent so much time on Comey. What is your opinion of the current head of the FBI, Wray? I’m just curious.

My opinion of Christopher Wray? I’ve never met the man. I don’t know him.

Compared to Comey, we don’t know much about him.

No, and I think that’s probably a good thing.

That’s a good point.

I think this guy’s in an impossible job and I wouldn’t presume to even have an opinion about how he’s doing it. I just don’t know. By the way, that’s coming from somebody who has an opinion about everything. So, it’s significant.

If he were doing a terrible job, someone might have mentioned that to you, I assume.

Yeah. I think that’s fair. But if he were doing a terrible job, Trump would be saying lovely things about him in public.

Robert Mueller is portrayed, briefly, in this. What is your opinion of him?

I think he’s an American hero. He served in Vietnam. He’s a patriot through and through. Every time his country has called, he has answered. I think he was wildly misled in terms of the investigation. I think he put handcuffs on his own team.

Oh, what do you mean by that?

By limiting where they were able to go.

But wasn’t that was Rosenstein’s decision?

He could have defied Rosenstein. He could have given Rosenstein the option. He could have put Rosenstein in the position where Rosenstein had to fire him, because I don’t think Rosenstein would have, but that’s just conjecture. In terms of Mueller as a character, we have as much in there as I needed. I wanted to draw a contrast between what Mueller looked like after 12 years on that job and what Comey looked like on his way in.

Oh, and Kingsley Ben-Adir as Obama is amazing. I just saw him in One Night in Miami… as Malcolm X. He’s fantastic.

That was another one of those where we really got lucky in terms of the casting because Obama appears so early in the series. He’s about four minutes in, and if you have a bad performance there, I think you’re dead. He just killed. He just absolutely crushed.

Is there any other example of something like that? Obviously Jeff Daniels as Comey, but is there anyone else that it’s like if this goes south with this character, the whole thing’s over?

Imagine Sally Yates without Holly Hunter. Imagine someone other than Michael Kelly playing Andy McCabe. Imagine someone other than Jonathan Banks playing Jim Clapper. We just struck gold on all of these performances.

William Sadler is great as Michael Flynn.

Oh my God. Thank you for reminding me. He was awesome as Flynn, and really funny. I don’t find Michael Flynn himself to be funny, but Sadler’s performance really makes me laugh. It’s so human.

You got to talk to all these people who were involved in all this. When Flynn’s name comes up, what do people say? How did that happen to him?

All I can give you on that one is conjecture. There are things about 2016 and 2017 that I know, and then there are things about 2016 and 2017 that I can sort of guess at based on public safety behavior and what I learned behind the scenes. It seems to me that Flynn, like so many of the people around Trump, will just do anything for money. And when Trump is faced with a person like that, he knows how to weaponize those people. He understands that venality. If you’re that kind of person, you have a place in this administration because you’ll do anything.

Yeah, and then he’s got something on you.

Well, yeah, but he doesn’t even need to have anything on you. Again, this is just conjecture, I don’t think Trump was ever blackmailing Flynn into doing one thing or another. If Michael Flynn is willing to take money from the Turkish government so that he can advocate publicly for the kidnapping of a cleric on American soil, that’s Donald Trump’s kind of guy. Those two speak the same language.

Speaking of that, the scene that really stood out the most is when T.R. Knight as Reince Priebus asks if Trump needs anything and Trump says, “Why would I need you,” and walks off.

I’ll tell you what that one was. What I said to Brendan, and T.R., who’s so great in that part, I said, “Look. In our White House, every day is shit on Reince Priebus day.” That’s just how Trump behaves. Remember, Priebus was the guy, after the Access Hollywood tape, who stepped up to Donald Trump and said, “You need to step down. This is not recoverable. You need to get off the ticket right now.” It was October 7th, and he said, “You need to get off the ticket,” and Trump makes him Chief of Staff? Why? Just so he could beat the living crap out of him every day. So, we played that. It is extremely telling that to this day Reince Priebus won’t say a thing in public that isn’t complete ass-kissing toward the president.

That’s what makes no sense.

Because none of them give a damn about the truth. Priebus has done a calculation and, in his head, it’s still better for his career to have a positive relationship with Donald Trump. That’s how he’s going to get a job as a lobbyist or a consultant or whatever it is he wants to be. By the way, that will change. And when that calculation changes, Reince will find God and come out with his memoir.

It’s interesting compared to Scaramucci who has done the opposite and made quite a little career for himself out of just trashing Trump, which seems like it can also be a career.

Sure. Why not? I applaud Scaramucci’s version more than I applaud Sarah Sanders’ version. At least Scarmucci at some point began to tell the truth.

Yeah.

While I have you, can I just tell you a quick Volcano story? Do you time?

Oh, please do.

That movie came out when I was 33. And I knew that we were going to get absolutely destroyed in the reviews. and I said to my wife, “I can’t be in Los Angeles the morning this opens. Because I can’t pick up the L.A. Times and read a review in my hometown paper where I get my head handed to me. I just can’t do it.” So we go out of town. We rented an RV and we took our baby and we drove to Santa Fe.

That Friday morning I wake up and I think, Santa Fe, they probably liked us in Santa Fe? So, I go and I get the Santa Fe paper and we get killed. And I thought, well, maybe they liked us in Albuquerque? So, I get the Albuquerque paper. Dead. Then I said, USA Today, they like populous stuff. So, I pick up the USA Today and we get buried and I’m so depressed. I come back to the RV and my mother-in-law calls and says, “Oh my God. You got the greatest review in the L.A. Times.”

I was in college when that movie came out. That is the perfect “watch a movie in college” movie.

Well, I’m glad you enjoyed it.

And look, I lived in Missouri then. I had no idea if there was or wasn’t a volcano in L.A. To me, it seemed perfectly reasonable.

In my defense, the original script was written by someone else, it was sold as a spec. He sold it on a Friday. I was brought in the following Monday to rewrite it. My city had just come out of Rodney King and all of that, and so I had this hugely pretentious idea: could we use the lava under the underground as a metaphor for the social ills that were underground in Los Angeles?

Ah.

That turned out to be a stupid idea. But I committed to it with 100 percent intensity. And you live and you learn.

‘The Comey Rule’ premieres this coming Sunday night on Showtime. You can contact Mike Ryan directly on Twitter.

The first of HBO’s presumably many Game of Thrones spin-offs was originally going to be a prequel set thousands of years before Stannis corrected Davos on his grammar, chronicling “the world’s descent from the golden Age of Heroes into its darkest hour.” But last year, the network announced that The Long Night, as author George R.R. Martin wanted it called, would “not be advancing to series.” It’s unclear why the series didn’t make it past a pilot order, as no one involved, including star Naomi Watts, is blabbing.

“I can’t say anything,” the Mulholland Drive actress told Collider when asked about the prequel. “It’s funny because I have an Instagram account and I found something in my memories, pictures that come up, and it was when I was there in costume and I was like ‘Oh! This would be fun to post!’ And I was like ‘No! I can’t do that I’ll get into so much trouble!’ Just the costume, you know? I wasn’t thinking about what I was wearing. It was what I was doing.” She added, “But anyway. Not allowed to say.”

Considering we still haven’t seen the original “piece of sh*t” Thrones pilot, which was shot a decade ago, I expect we’ll never know what happened with the Watts-led series. Oh well. At least we still have House of Dragons (and Watts in The Book of Henry).

(Via Collider)

COVID-19 forcing NPR to close its DC offices has proven to be something of a blessing in disguise for the network’s Tiny Desk Concert series, as the closure has opened up the slate of artists to appear on the show. Whereas real-life schedules once made it difficult to arrange appearances, holding the Tiny Desk Concerts at home has also given artists a wider range of options for their shows.

Case in point, the latest artist to appear is Griselda Records’ Conway The Machine, who stretches the “at-home” classification of his performance by taking over a booth at New York’s Sweet Chick restaurant. Not only does this provide an interesting change of scenery that still fits the theme of the show, it allows for some dynamism in his otherwise low-key performance as he still receives service. Cleverly, he has a server drop off a mason jar of lemonade as he performs “Lemon.” Chicken and waffles appear on his plate as he performs “Front Lines” after a short speech about ongoing protests against police violence. And keep an eye out for the digital scale on the table, as it just wouldn’t be a Griselda affair without some overt coke-game reference props.

Conway’s new album From King To A God is out now.

Watch Conway The Machine’s NPR Music Tiny Desk Concert above.

The best way to honor Supreme Court Justice Ruth Bader Ginsburg is to share her legacy with the next generation. The feminist icon may have passed away last week at the age of 87, but she lives on in the hearts and minds of multiple generations of Americans, especially women.

In the 1970s, the young Ginsburg “convinced the entire nation, through [her arguments at the] Supreme Court, to… adopt the view of gender equality where equal means the same — not special accommodations for either gender,” Abbe Gluck, a Yale Law School professor and former clerk of Justice Ginsburg, told ABC News.

However, Ginsburg’s influence extends far beyond those who admired her during the feminist movement of the ’70s.

Ginsburg was an inspiration to millions right up to her passing. She resonated with younger groups as a pop culture icon and the subject of countless memes. She was even the subject of several “Saturday Night Live” sketches starring the brilliant Kate McKinnon.

“I think it is absolutely extraordinary that Justice Ginsburg was both a hero to the women of the 1970s and then an icon to the little girls of today,” Gluck noted. “She was an amazing teacher and her influence remains with me today and will remain with me forever.”

In 2016, Ginsburg was the subject of a children’s book, “I Dissent: Ruth Bader Ginsburg Makes Her Mark,” by Debbie Levy. The book gave young readers the opportunity to learn about the justice from her childhood to the Supreme Court.

To honor Ginsburg’s legacy after her passing, parents have been sharing photos of their daughters dressed as the Justice on social media to show how her legacy won’t soon be forgotten.

The “I Dissent” book clearly had a powerful influence on young women.

Ginsburg was a popular subject for young girls to cover in book reports.

Ginsburg has left behind generations of women who aspire to be a Supreme Court justice.

RBG is an inspiration even to the youngest of girls.

“Dissents speak to a future age,” Ginsburg once said. “It’s not simply to say, ‘My colleagues are wrong and I would do it this way.’ But the greatest dissents do become court opinions and gradually over time their views become the dominant view. So that’s the dissenter’s hope: that they are writing not for today, but for tomorrow.”

Ginsburg was known for her powerful, dissenting opinions and if her long-term goal was to provide a true north for those who came after her, her mission was clearly accomplished. RBG may have thought she had more work to do when she passed, but there’s no doubt that it will be achieved by those she’s inspired to follow in her footsteps.

The world discovered this year that almost everything in their lives is actually cake. Those memes are genuinely pretty darn impressive, because as an artistic medium, cake is not easy to work with. That was proven during the recent season Season 11 premiere of The Great British Bake Off. Contestants were tasked with making a cake bust of their personal heroes, and one baker decided to portray former Blink-182 member Tom DeLonge. Well, they may have tried their best, but the results have drawn the ire of the internet.

DeLonge himself got in on the fun, too. He shared a screenshot of the cake — which, again, bears a passing resemblance to him in that it has human-like features — and wrote, “When I was younger, and needed the money, I did a few hundred adult films. This looks EXACTLY like me at the time. EXACTLY. #Cake.”

DeLonge wasn’t the only music figure to be immortalized as a baked good during the episode. He also wasn’t the only one to be portrayed poorly, as artists like David Bowie and Bob Marley also fell victim to the British bakers.

Fans had plenty to say about the DeLonge cake, so check out some other reactions below.

Anderson .Paak and Rick Ross are super seniors in the comedic video for their Madden NFL 21 collaboration “Cut ‘Em In.” Confronted by their teacher — portrayed by former Vine star and comic cameo contract killer King Bach — on the last day of school, the boys are told not to get in any trouble. Naturally, they can’t help but contradict that order, raising a ruckus in the halls with their peers.

The Hit-Boy produced track is embellished throughout by shots of a brassy band playing with .Paak at the helm — a fitting addition, considering it’s Andy’s first video as director. It looks like both rappers and their comedian co-star had a blast shooting as well. The video game the song soundtracks also makes an appearance thanks to its mobile version on Anderson’s phone.

.Paak’s had an eventful year, playing performances for an NPR Tiny Desk and the BET Awards, voicing a character and providing a track for Trolls World Tour, appearing on The Price Is Right (and ditching a studio session with Dr. Dre to do so), and working with hip-hop legends Nas (on new album King’s Disease) and Busta Rhymes (on E.L.E. 2 track “Yuuu“). Meanwhile, Rick Ross has kept it decidedly lower key, popping up on the odd feature and participating on Swizz Beats’ Verzuz show with 2 Chainz.

Watch Anderson .Paak’s “Cut Em In” video featuring Rick Ross above.