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Without the allure of arena tours and blockbuster ticket sales, pop albums landed a little differently in 2020. They were gentler, more intimate, more open, and, occasionally, even wild. From the outrageous mania of Halsey’s incredible body of work on Manic — a prelude to how crazy the rest of the year would get — to the dancefloor ecstasy of Lady Gaga’s Chromatica, and even the sleek, star-making charisma of Dua Lipa, here are the best pop albums of the year.

20. Benee — Hey U X

Benee has not had the average rise to fame. After her hit song “Supalonely” went viral on TikTok, the New Zealand singer experienced her global breakout during a pandemic. Even still, the young singer was able to successfully maintain the momentum for her debut album, Hey U X, which blends exuberant beats heard on her previous EPs with more earnest lyricism. The result, both playful and heart-wrenching, proves that Benee can turn even the biggest obstacles into fuel for success.–Carolyn Droke

19. Shawn Mendes — Wonder

Shawn Mendes has been breaking records since the beginning of his career. All three of his previous albums debuted at No. 1, and at 23 he’s one of the youngest artists to ever achieve that. On his fourth record, Wonder, Mendes is a devoted and attentive partner, having fallen madly in love with fellow pop star Camila Cabello. While this makes for a slightly more saccharine song cycle than he’s released in the past, Shawn’s vivid songwriting is full of glancing emotional phrases and tender moments. The perfect pop album if you’ve just fallen in love, and can’t get over the allure of another person.—Caitlin White

18. The Chicks — Gaslighter

After an extremely long hiatus, fourteen years to be exact, Natalie Maines and co. are back and funnier, sharper, and more vulnerable than ever on Gaslighter. As the album unfolds, it becomes clear why it took so long: the group’s leader, Maines, has been betrayed by the love of her life, and though the subject is painful, it makes for a rich array of songs that tackle marriage and manipulation (“Gaslighter”), a return to the art of the crush (“Texas Man”), and breakup songs that sting with the trio’s fondness for exacting details (“Tights On My Boat”). A fine return to form, and let’s hope the next installment doesn’t take fourteen more years.—C.W.

17. Lady Gaga — Chromatica

Chromatica did something Gaga fans have been wanting her to do for at least two album cycles — get back to the dancefloor. Overstuffed with poignant house bangers like “911” and glittering anthems like the Ariana Grande-featuring “Rain On Me,” this album reminded fans that even after years of piano ballads and rock/country left turns, Gaga has not forgotten or moved beyond her time as a full-blown pop star. In fact, she’s never been better.—C.W.

16. BTS — Map Of The Soul:7

If somebody told you that BTS is the biggest band in the world, it would take some real thinking to form an argument against that claim. The South Korean group cemented themselves as an international pop force thanks to Map Of The Soul: 7, which is even more of a feat considering that you need to speak Korean to know what they’re even saying.—Derrick Rossignol

15. Gus Dapperton — Orca

Following a particularly tumultuous time on the road promoting his debut album, Gus Dapperton decided it was time to prioritize his physical and mental health. The shift is apparent in Dapperton’s sophomore album Orca, where he trades in fuzzy instrumentals in favor of more defined tones. He also gets personal in his lyrics, singing about the difficulties of healing while airy beats melt under his far-reaching vocals for an impactful collection of songs.–C.D.

14. Dominic Fike — What Could Possibly Go Wrong

Fike is an up-and-comer, but on his debut album, he managed to be a stylistic chameleon and sounded confident while doing it, which isn’t easy for any artist, especially a young one. As Uproxx’s Caitlin White noted, “For an artist who is just starting to get his bearings, Fike has settled into the pocket of his sound immediately.”—D.R.

13. Conan Gray — Kid Krow

Busting right out of the gate with his debut album, Kid Krow, Conan Gray has already amassed an enormous fan base from years of sharing his life and talents online. The self-made pop star was discovered by the music industry when his homage to small town life “Idle Town” went viral. Now, he’s had plenty more massive hits like the careening clapback “Maniac” and the longing ballad “Heather.” Kid Krow establishes Gray as a fully-formed artist who is well on his way to conquering the pop world.—C.W.

12. Halsey — Manic

Grammy nominations or not, Halsey’s Manic is one of the best, most versatile, and fascinating pop records of the year. Fearlessly pivoting from the beat-driven melancholia of single “Without Me” to the surprising hip-hop-inflected country on “You Should Be Sad,” guests as disparate as Suga of BTS and Alanis Morissette prove that Ashley Nicolette Frangipane is at her best when she’s embracing every single one of her wildly eclectic impulses.—C.W.

11. Empress Of — I’m Your Empress Of

Though it unfortunately got lost in the shuffle of an America on the brink of shutdown due to the pandemic, I’m Your Empress Of will live on in the discography of Lorely Rodriguez as her most mesmerizing, comprehensive work to date. Meticulously constructing dancefloor bangers out of her own misery, a late-night soundtrack that sparkles with tears and uncertainty, this third full-length assures Empress Of’s place among pop royalty for years to come.—C.W.

10. Dorian Electra — My Agenda

Cementing their spot among pop boundary-pushers, Dorian Electra’s My Agenda is a wild ride through the darkest corners of the internet. The hyperpop artist is known for subverting normalized aspects of our culture, and that’s exactly what they do on their sophomore effort. The record explores problematic internet communities through tongue-in-cheek lyrics, disruptive beats, jarring synths, and distorted vocals.–C.D.

9. Blackpink — The Album

Blackpink in your area. Even when global quarantines rendered this infamous tagline necessarily false, Blackpink still encroached on new territory all year. With their boisterous debut, unceremoniously dubbed The Album, this Korean girl group became the highest-charting act of their kind with a Selena Gomez assist on “Ice Cream” and seven other tracks that wield aggression like it’s a necessary accessory for rising pop stars. Why should they be sweet when hostile sounds this inviting?–C.W.

8. Rina Sawayama — Sawayama

If you don’t know the name, you will soon. Rina Sawayama was born in Japan but grew up in London, bringing the best of both worlds into her global pop sound. This year’s self-titled debut Sawayama manages to include a nod to practically every sonic era of pop, with standouts like “Commes Des Garcon” leaning heavy into house. Incorporating commentary on everything from sexism to friendship to chosen family, Rina is on her way up. You can come along or watch her rise, up to you.–C.W.

7. Selena Gomez — Rare

In the months before the world fell apart, Selena sang to us about her rebirth. Rare is a declaration of independence from an artist who has been entangled in codependence and dealing with the pressures of fame since she was a young girl. Coming into her adulthood necessarily meant facing down those two demons, and she does it with idiosyncratic lyrics, outstanding vocal performances, and earworm hooks. It’s the closest step to an absolute classic album that Selena has ever taken.–C.W.

6. Bad Bunny — YHLQMDLG

It hasn’t taken long for Bad Bunny to become an international superstar. While his ascent has been aided by collaborations with established English-language stars (Cardi B and Drake), he stuck to his roots this time around by working with Spanish-language artists. It paid off, too: YHLQMDLG debuted at No. 2 on the Billboard and was therefore the highest-charting all-Spanish album ever.–D.R.

5. Charli XCX –How I’m Feeling Now

At the onset of the pandemic, Charli XCX set out to do something unheard of — writing, recording, and producing an entire album in just two months. To make her vision into a reality, the singer leaned on social media as a crowdsourcing tool for collaboration. Fans were able to help Charli select beats, lyrics, and even single art for her music. The result, How I’m Feeling Now, offers a unique snapshot of how we were all truly feeling in quarantine, coated with Charli’s signature beat drops and mechanical samples.–C.D.

4. Ariana Grande — Positions

Perhaps “Positions” felt like a curveball when it arrived out of nowhere in late October, but contextualized within the glowy, loved-up feel of the rest of the album, it’s a hell of a lead single. Horny, giggly, and still slightly terrified, Ariana is back with a whole new set of slow jams and casual bops that build on each other until her thesis becomes crystal clear on the massive final track “POV.” All relationships work best when they bolster self-love, and if she’s finally gotten there, bring on the romance.–C.W.

3. Harry Styles — Fine Line

Swooping in during the final weeks of 2019 to deliver a gut-wrenching, beautifully rendered pop classic, Harry Styles is sitting pretty on his Fine Line momentum even a whole calendar year later. Without a much-anticipated world tour, the songs from this era have still resonated all year, from the glorious smack of “Watermelon Sugar” to the shimmering title track and gentler love songs. Whenever he gets back on the road, Harry will properly flesh out his brilliant second record, building in golden moments where we haven’t even anticipated them yet.–C.W.

2. Dua Lipa — Future Nostalgia

With astonishing grace, Dua Lipa makes becoming a top-tier pop star look easy. Some artists fret over a second record, whether it will be well-received, whether it will be as good as their debut, Dua simply buckles down and produces more flawless, disco-flecked pop without worrying about the details. Future Nostalgia is a classic, sleek pop record with bubbly emotion that never overflows, making her a buttoned-up star in a messy era. As if that wasn’t enough, she came floating back in the fall with a reimagined, remixed alternative record that hails the heritage of all the disco and house she called on before. She’s already learned the most important lesson — no one can properly herald the future of pop without nostalgia for the past.–C.W.

1. Taylor Swift — Folklore

There are many reasons why Folklore deserves to be Album Of The Year, the most basic of which is that it’s a towering collection of songs by one of the generation’s most important voices, that sits comfortably among the best work she’s ever created. “The Last Great American Dynasty” proves she’s as adept at storytelling as ever, “Exile” offers up Taylor Swift as the ultimate collaborator (both vocally with Bon Iver and in the songwriting sense with Vernon and not-so-secret guest writer Joe Alwyn), and “Betty” reminds that genre walls are made to be burned down, with Swift still able to find as much success in the country world as she does on the Hot 100.

But Folklore also represents something particular about this year. Conceived entirely in quarantine, Swift was experiencing something that many were, with more time to create, learn, and grow. But she didn’t just get really into banana bread like the rest of us, she reached out to some of her favorite musicians and found the acceptance and grace to get firmly out of her comfort zone in unprecedented circumstances, creating something that couldn’t happen in any other time. Folklore isn’t a concession that her more overt pop gestures were somehow flawed, it’s just further example of Swift’s range, as she sounds as much at home working with Aaron Dessner of The National as she has in the past with Max Martin. But the lasting effect, how for a moment in the summer all the pain and anguish and anxiety of the world dissipated briefly and music fans took to social media to share in this glorious surprise — it can’t really be measured how much this album meant, and how it altered the cultural landscape. When we look back at this year’s 50 best albums, and the many more that aren’t on the list, that’s probably what matters most — how they helped us all survive.–Philip Cosores

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

Howard Stern famously once said that “I was so completely f*cked up” before settling into his current satellite radio groove, and it sure looks like that groove won’t even end for him until… retirement time? Maybe. Stern’s currently 66 years old, and he’s been at Sirius XM for fifteen years. He’s now extending his tenure by re-upping his SiriusXM contract, which is a transaction that should take him all the way to 70 years old and beyond. One can’t sniff at that kind of job security, especially in a world that’s on fire.

Hollywood Reporter reveals that Stern signed onto another five years before his current five-year deal ends at the end of December, and yes, Robin Quivers is sticking around, too. There’s no word on how she’s faring, but he could be pulling in $120 million per year. That’s a bonkers sum to behold, and it sure sounds like Stern has zero complaints whatsoever, as he relayed on Tuesday morning:

“Fifteen years ago, I joined SiriusXM, a fledgling group of broadcasters. I had been in a toxic relationship with terrestrial radio. And no matter how well I treated the medium, no matter how successful I made them, they abused me. Going to SiriusXM liberated me. I felt like Tina Turner freeing myself from Ike.”

Stern’s presence certainly helped volley the satellite radio business to where they’re at now, and yep, pretty much every new car is equipped for SiriusXM these days, so it sounds like things are working out for the “fledgling group of broadcasters.” Stern’s also thrilled about working from home, and he can’t wait to see what he’ll have to say about “Metamucil crackers and stepmom porn.” Yes, that’s probably coming. Stern also paid tribute to his crew and Quivers, while joking that they’re “[l]ike Sonny and Cher, Captain and Tennille, Charles Manson and Squeaky Fromme… Robin, will you accept my rose and dare I say, should you forgo your individual room, will you join me in the fantasy suite?” If that $120 million annual figure is correct, he’ll be able to buy all the suites.

(Via Hollywood Reporter)

Billie Eilish has likely landed a track or two on music fans’ year-end favorite songs lists, but what’s on her own list of 2020’s top tracks? She actually laid out her rankings in a recent interview with Australian radio station Triple J, and her top pick didn’t exactly take the world by storm this year: “At The Door” by The Strokes.

Eilish said of the track, “I wish I could put this whole album [The New Abnormal] as my first choice. It’s been my favorite album in many years. There is something about The Strokes, I don’t know what it is, man. I love ‘At The Door,’ I love the melodies, I love the lyrics, I love everything about it. The Strokes hit a nerve.”

“At The Door” was the lead single from The New Abnormal, released back in February. It failed to appear on any Billboard charts (while fellow album tracks “Bad Decisions” and “The Adults Are Talking” at least found their way onto the Alternative Airplay chart) but is part of the core of The Strokes’ strong comeback album.

Beyond “At The Door,” Eilish’s list also includes James Blake’s “Are You Even Real?,” Phoebe Bridgers’ “Savior Complex,” Cyn’s “Drinks,” Drake’s “Time Flies,” Dominic Fike’s “Chicken Tenders,” Tekno’s “Kata,” Bruno Major’s “To Let A Good Thing Die,” and Jorja Smith’s “By Any Means.”

Netflix and Charlie Brooker haven’t been churning out episodes of its twisty, sci-fi series lately, last giving us three less-than-stellar episodes in the summer of 2019. Brooker is currently working on a mockumentary of the year 2020 narrated by Hugh Grant, so don’t expect any new episodes anytime soon, either, although there have been a number of imitators to come along in the wake of Black Mirror’s success. There have been great ones (Years and Years on HBO), decent ones (Upload on Amazon Prime), and bad ones (Weird City on YouTube Premium). Meanwhile, Jordan Peele’s uneven Twilight Zone feels more like a pale imitation of Black Mirror than it does the original Twilight Zone, to which Black Mirror owes a great deal of its own success.

The latest Black Mirror-esque show to come along, Soulmates, is not just one of the best of the bunch, but the one most similar in tone and spirit to Black Mirror. That’s, in part, because it comes from creator and writer Will Bridges, who wrote a couple of memorable episodes of Black Mirror, most notably USS Callister. Bridges’ writing partner and co-creator on Soulmates is Brett Goldstein, a writer on one of the best shows of 2020, Ted Lasso, on which Goldstein also plays aging soccer player Roy Kent.

The wrinkle in Soulmates, and what makes it different from Black Mirror is that it takes a futuristic concept, and instead of building one episode around it, the AMC series creates 6 different anthology episodes (with different characters) around the same premise. Set 15 years into the future, that premise entails an algorithm that can pair anyone with their “soulmate” with 100 percent accuracy. The idea sounds like something out of the “Hang the DJ” episode of Black Mirror, but Soulmates smartly comes at the premise from a number of different angles.

In the first episode, for instance, Nikki (Succession’s Sarah Snook) and Franklin (High Fidelity’s Kingsley Ben-Adir) are a happily married couple who seem to have it all, but can’t help but be tempted by the Soulmates algorithm. Paired with their soulmate, could their life be even better? Should they risk a great marriage for an even better one?

In “The Lovers,” Alison (Sonya Cassidy) takes advantage of the algorithm in order to trick the happily married David (David Costabile) into a torrid affair, but her motivations may not be pure. In “Layover,” Mateo (Bill Skarsgård) falls in love with Jonah (Nathan Stewart-Jarrett) while he’s searching for his soulmate in an unfamiliar country; Charlie Heaton and Malin Akerman star in “Break on Through,” which is about a cult devoted to those whose “soulmates” are dead; and in “The Ballad of Caitlin Jones,” a character played by Betsy Brandt wonders why she’s been paired with a murderer. It turns out, however, that the algorithm knows her better than she does.

What’s interesting about Soulmates is that there is nothing faulty about the algorithm. The people who are matched are each others’ soulmates, but the series asks the simple question: Does being with the person that you love the most make you the happiest? The answers are usually surprising. The series, which has been renewed for a second season already, boasts a stellar cast, strong writing, and a tone that could easily be confused with Black Mirror. While Soulmates — like most anthology series — has some episodes that are better than others, of the first six episodes, there’s really only one less the stellar episode of that bunch (that’s “Little Adventures,” for those who might want to skip it). The series is definitely worth checking out.

‘Soulmates’ is available on AMC on Demand, AMC+ or AMC Premiere.

Today, December 8, is the one-year anniversary of the death of Juice WRLD, aka the most-streamed US artist on Spotify this year. A posthumous single with Benny Blanco dropped a few days ago, on what would have been his 22nd birthday, and now there’s another new Juice track. To mark the tragic occasion, The Kid Laroi shared a song he and Juice made together, “Reminds Me Of You.”

As Laroi notes, the song is based on Kim Petras’ “Reminds Me,” and Juice sings on the emotional track, “Fightin’ for my heart and baby, I never lose / No, I can’t get high, ’cause it reminds me of you / If you ever needed me, girl, I was flyin’ to you / Told you that I loved you, girl, I wasn’t lyin’ to you.”

In a message from this summer, Laroi paid tribute to Juice, writing in an Instagram post, “before we even met you were my favourite artist, and I still think everyday how cool it was that I got to b damn near family with my idol. you took me all over the world on a f*cking private jet and showed me a whole different side of life that not many people get to see. from all the months you let me live at your crib, to all the nights I spent watching and learning from you in the studio, to all the concerts and tours I got to witness.. I got to learn from a real life legend. it’s not even in my character to write long ass sh*t like this but f*ck it our song [‘Go’] is about to come out and I just wanna say how much I wish you were here with me to enjoy this sh*t. we all love and miss you back here.”

Listen to “Reminds Me Of You” above.

Rudy Giuliani joined Donald Trump’s legal team in April 2018, but he didn’t come into his own as a ooze-leaking, fart-emitting, bumbling idiot until the 2020 presidential election (the collusion stuff seems so quant now). During Monday’s episode of The Late Show, host Stephen Colbert fired off a list of Rudy’s many triumphs since early November.

“So, for just a partial list of Rudy’s achievements since the election: He’s lost 48 lawsuits, he melted on camera, he farted in court, he got COVID, and he shut down a state legislature. The only thing more embarrassing would be if he married his own cousin. He what?!” Colbert joked (to be fair, Regina Peruggi is Rudy’s second cousin). That leaves out the Four Seasons Total Landscaping debacle, asking a witness to remove her mask while she was sitting next to him, and asking Trump for a “preemptive pardon,” a normal thing for an innocent person to do. At least he brought the wild wine lady into our lives.

Rudy was a hot topic on The Daily Show, too, where host Trevor Noah said that the former-NYC mayor only has “himself to blame for this. I mean, this dude was going all over the country refusing to wear a mask. What do you expect? If I go around licking car windshields, I can’t be shocked if I get bird flu. Or if I go around drinking at bars until 3 a.m., I can’t be surprised when I go home with yo mama!” Watch the clip below.

Earlier this year, rapper Megan Thee Stallion penned a powerful op-ed for The New York Times honoring and uplifting other women of color called “Why I Speak Up For Black Women.” The essay came during a year that re-prioritzed calling out and fighting back against the systematic racism in America, and it didn’t go unnoticed by other Black women who work in the public eye. Maxine Waters, a congresswoman from California, took the time to write a letter to Megan to let her know how the letter impacted her.

Megan, too, was equally impacted by having her voice acknowledged, and shared the letter in full in an Instagram post today. “One of the highlights of my year was getting a letter from Congress Woman @repmaxinewaters,” she wrote in the caption. “I am so honored to be recognized by such an amazing woman and I promise to keep using my voice and encourage others to use theirs!”

Read the letter below.

Dear Megan,
I read the op-ed you wrote that appeared in the New York Times recently and I can’t thank you enough for bringing much needed attention to the plight of Black women, not just here in the United States — but everywhere. You are so right that Black women have paved the way and have done so by leading with courage and bravery. There is also this notion, which you touched upon, that we as Black women have the ability to bear a heavier burden than everyone else in society. That notion contributes to the lack of care and attention to the issues that specifically affect us. While we are too often overlooked, there is no doubt that Black women are the glue for our families and communities, and a crucial part of the fabric of this country. We see that — in your career and your tremendous success, despite the obstacles that have come your way.

I write all this to say that I’m so incredibly proud of you and how you have used your voice to uplift Black women. I know that Black women and girls everywhere thank you for the way you so fiercely have their back. I want you to know that I have your back, too. I hope that during these trying times you take comfort in knowing that I’m fighting for you, and all Black women, every single day. Stay well, keep fighting, and take care. We need your voice in this fight.

Warm Regards,

Maxine Waters
Member of Congress

LeBron James and Kyrie Irving’s partnership in Cleveland was, at times, tense, as the young guard wasn’t always quick to embrace James’ dominant leadership style, but the two did combine to lift the Cavaliers to their first championship in 2016 in their historic comeback from 3-1 down against the 73-win Golden State Warriors.

A year later, Irving would issue a trade request that landed him in Boston as he seemed determined to break off on his own to take on the starring role he believed he was destined for, while James spent one more year in Cleveland before heading to Los Angeles. This year, James’ Lakers are once again the favorite in the West and to repeat as champs, while Irving’s Nets are among the favorites in the East now that he and new star teammate Kevin Durant are both healthy.

There’s certainly going to be a feeling out process for Durant and Irving, but the two friends are very excited to play together. Earlier this offseason, Irving joined Durant on his The ETCs podcast and made a comment that raised some eyebrows, in which he indicated that Durant will be the first teammate he fully trusts to defer to and take some of the same shots in clutch situations.

“I felt like I was the best option on every team I’ve played for down the stretch,” Irving said. “This is the first time in my career where I can look down and be like, that motherf*cker can make that shot too and he’ll probably do it a lot easier. I feel like, yo, it’s not so much deferring, because in past situations if I didn’t take the last shot I felt guilty. I was like I want this game-winning shot but you want to trust your teammates — not to say I didn’t have the trust in my teammates — but I felt like I was the best option. And now, 10 seconds down, OK, K, get us a f*ckin bucket, I don’t care. I’m going to crash the offensive glass.”

Naturally, everyone’s first reaction was to be rather surprised by the comment given that he played with LeBron who is among the best players to ever play, and it was a comment that even caused LeBron to be taken aback. James addressed it on the Road Trippin’ Podcast with Richard Jefferson and Allie Clifton, noting that he waited until he could get the full transcript to make sure it hadn’t been taken out of context, but once he saw that was indeed how it came off he was “kinda hurt” by Irving’s comments.

The relationship between James and Irving has always been a fascinating one, as Kyrie never seemed keen to taking on the role of young player being brought along under LeBron’s wing, balking at the idea that he was a little brother or something of the sort. Irving’s relationship with Durant is clearly different and built out of longtime friendship, rather than a sudden pairing as happened with he and LeBron in Cleveland. It’s clear that LeBron wanted to have something different with Irving, as noted by his saying the two never aligned, and this is the latest instance of him being a bit hurt by that not being the case. As he said, it isn’t something that made him mad or upset, but clearly made him feel some type of way and a little disappointed that Kyrie doesn’t see him in that same light.

On one hand, it’s legitimately terrifying that an outgoing president is trying to overturn an election. On the other, Donald Trump is doing such a bad job at it that it’s been amusing, as well as scary. From his Keystone Kops legal team bumbling through one creatively failed presser and hearing after another to a guy whose father and wife he insulted promising to come to his rescue, it’s been a lot. But surely few people imagined that it would come to this: Lou Dobbs almost made Stephen Miller cry.

Dobbs, of course, is one of the president’s most stubborn cheerleaders. Miller, of course, is one of Trump’s most hated minions. They both adore 45. They both hate immigrants. But on Monday night — hours after a report emerged that Trump bungled an attempt to vaccine more Americans early and often — Dobbs turned on Miller. And people on social media found it glorious.

Miller came ready to parrot some familiar and dodgy (and in many cases already debunked) claims of voter fraud. But Dobbs wasn’t having it. He thought the president’s Senior Advisor was just another Republican letting him down, allowing him to get humiliated in one failed court case after another, ready to go down as a disgraced one-timer.

“The president warns for months and months and months about mail-in ballots and the potential for fraud, and the Republicans do nothing, Stephen. Nothing,” Dobbs scolded. “What’s wrong with the Republican party?!”

Miller tried to get in some moth-ridden talking points, even saying America had become a “banana republic,” but not because they elected a potential authoritarian who won’t concede an election he didn’t come close to winning. But Dobbs wouldn’t let him get very far.

“The reality is that this president right now is fighting — and let’s be straightforward about it — he’s fighting all alone,” Dobbs averred. “And Ted Cruz has stepped up to say he’ll argue before the Supreme Court. Why on God’s green Earth wouldn’t the White House jump on it?”

When Miller again tried to save himself with canned lines, Dobbs blew up. “No, no, Stephen. I’m not going to let you do this! I’m not going to let you do that!” Dobbs shouted. “I asked a question. You and I, we’re reasonably smart and decent fellows. Why don’t you answer me? That’s all I’m asking here, Stephen. Why don’t you guys jump and salute Ted Cruz and say, yes, we want you on the team now? My God, this is not a time for internecine nonsense on the part of the Republican party which is watching its blood drain into the streets because they’re gutless!”

Dobbs may have intended to energize Miller into taking a bolder stand, even though, at this point, the administration has done almost everything it could to overturn the election, without success. Instead Miller retreated into himself, looking as though he was about to cry.

Besides, the only people energized were people who dislike Lou Dobbs and Stephen Miller.

And truly, it was a big deal that Lou Dobbs — who regularly gives Republicans a hard time, but not people so close to the president — blew up on Stephen Miller.

At one point Dobbs floated the idea of hiring Marc E. Elias, who’s been defending the Democratic side of the election, and quite well at that. Elias himself found that quite amusing.

Still, he had to turn the handsome offer down.

Some were worried about Lou Dobbs.

Others basically said, “Let them fight.”

But maybe what they are is a new comedy team. After all, Republicans definitely need more funny people.

Anyway, barring some bizarre plot twist, Stephen Miller will be out of a job in a month-and-a-half, at which point we can all go back to thinking the most famous person with his name is an old rock musician with a bunch of hits. But will Lou Dobbs stay at the increasingly hated-by-Trump Fox News syndicate? Or will he jump ship to Trump’s revenge channel?

While Trump was campaigning for November’s presidential election, he was faced with a problem: Musicians kept suing him for playing their songs at rallies. Neil Young was among those to take legal action, suing the president in August for playing “Rockin’ in the Free World” and “Devil’s Sidewalk,” even after Young repeatedly told him to stop. However, it will not go to court as Young has now officially dropped the lawsuit, and for a good reason.

This comes from Rolling Stone, which reveals that the decision to dismiss the case was because, well, Trump lost his 2020 presidential bid to Joe Biden over a month ago. This could mean the lawsuit was perhaps symbolic in nature, though Young’s team has not commented on the musician’s intentions.

The original lawsuit filed against Trump stated that Young did not want his music to be a part of a “divisive” movement. “This complaint is not intended to disrespect the rights and opinions of American citizens, who are free to support the candidate of their choosing,” the court documents state. “However, Plaintiff in good conscience cannot allow his music to be used as a ‘theme song’ for a divisive, un-American campaign of ignorance and hate.”

Other musicians who’ve taken legal action against the Trump campaign include Phil Collins and Leonard Cohen’s estate. Tupac’s family also had a tiff with the administration, though not over a MAGA rally. Rather, Tupac’s family bashed Trump’s campaign for using the late rapper’s name to mock Vice President-elect Kamala Harris.

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