Latest news with #HailToTheThief
Forbes
4 days ago
- Entertainment
- Forbes
Radiohead's Huge Week On The Charts — And It's All Thanks To One Song
Radiohead is having a fantastic week on the charts in the United Kingdom, where the English rock band hails from. The group has two singles bouncing back onto the nation's most competitive songs ranking, and interest in its Grammy-winning discography is growing as it delivers only its second-ever live set, Hail to the Thief (Live Recordings 2003–2009). Three different albums by Radiohead appear on various charts in the U.K. at the moment. All three titles make a home on at least a trio tallies apiece, with one managing to live on four – and they're all growing in popularity again. OK Computer Stands Out as Radiohead's Biggest Winner OK Computer jumps to No. 66 on the Official Albums chart this week, while also soaring into the top 20 on the Official Physical Albums and Official Albums Sales lists. The decades-old alternative set even returns to the top 10 on the Official Vinyl Albums ranking. The Bends and In Rainbows Both The Bends and In Rainbows can also be found on the Official Albums Sales, Official Physical Albums, and Official Vinyl Albums charts, though OK Computer is the only Radiohead project to find space on the all-encompassing albums roster. The Bends is the bigger winner of the two, with both sets living inside the top 40 on all lists. 'Let Down' Pushes Radiohead's Catalog North Radiohead's entire charting discography is climbing largely thanks to the virality of 'Let Down.' That album cut, originally featured on OK Computer, became a hit seemingly out of nowhere earlier this year after spearing like wildfire on TikTok. The continued success of the track has propelled OK Computer higher and reignited interest in all things Radiohead, lifting more than just OK Computer itself. 'Let Down' and 'Creep' Return 'Let Down' and 'Creep' — two of Radiohead's most successful songs — both return to the Official Singles chart. This time around, 'Let Down' reenters the tally at No. 88, just a few spots beneath its No. 85 peak, while 'Creep,' arguably the band's most familiar composition, lands at No. 95. Both tracks are also growing on the Official Singles Streaming chart, lifting to Nos. 62 and 68, respectively.
Forbes
4 days ago
- Entertainment
- Forbes
Radiohead's Surprise Album Becomes An Instant Bestseller
Radiohead is in the midst of an exciting period of success, even though until just a few hours ago, the group had not delivered new music in years. In mid-2025, the album cut 'Let Down' suddenly went viral after being featured in an episode of the FX series The Bear. That track has been rising on charts globally for weeks, bringing with it a number of the band's other classics and even several full-lengths. Perhaps to capitalize on this moment, Radiohead dropped Hail to the Thief (Live Recordings 2003–2009) on Wednesday (August 13), and it's become an instant bestseller. Radiohead Follows KPop Demon Hunters and Baby Metal The live set immediately debuts inside the top 10 on the iTunes Top Albums charts in both the United States and the United Kingdom. The Radiohead project opens at No. 3 in each market. Radiohead comes in behind the KPop Demon Hunters soundtrack and Metal Forth by Babymetal, which sit at Nos. 1 and 2, respectively. Radiohead's Second Live Album Radiohead has only released two live sets throughout its decades together. In the fall of 2001, I Might Be Wrong: Live Recordings arrived, and it went on to crack the top 40 on the Official Albums chart in the U.K. and just barely missed that region on the Billboard 200 in America. A Surprise Live Set From Radiohead The band's latest live project came as a surprise, and it became available digitally the moment it was announced. The full-length features performances of tracks from its sixth album Hail to the Thief, which were recorded in various cities — including London, Amsterdam, Buenos Aires, and Dublin — between 2003 and 2009, as the project's title suggests. A vinyl pressing is expected on Halloween. Hail to the Thief Arrived More Than Two Decades Ago Hail to the Thief dropped in June 2003. By the time it arrived, the set had leaked online, but that didn't stop it from reaching No. 1 in the U.K. and giving the group another top 10 success on the Billboard 200 in the U.S. Like every other Radiohead studio effort, the set earned critical acclaim and its popularity helped the band collect a fifth consecutive Grammy nomination for Best Alternative Music Album. The live album follows a few months after Hamlet Hail to the Thief, a production of Shakespeare's Hamlet that included reworked music from the album by Thom Yorke.
Yahoo
4 days ago
- Entertainment
- Yahoo
20 Years Later, the Soundtrack of ‘Brokeback Mountain' Still Echoes
I was 21 when Brokeback Mountain was released. I have such fond memories of going to the gay bar in my hometown of Minneapolis and dancing to bass-driven remixes of Gustavo Santaolalla's gentle, emotive original score. Even in its house-music version, there's an inherent sadness in these songs, and sometimes that's the best to dance to. Upon its release, Brokeback Mountain felt very validating, but also very melancholic because it felt like we'd come so far and yet still had so far to go. More from Spin: B-Real Breaks Down How 'Insane in the Brain' Made Cypress Hill Superstars John Lennon, Yoko Ono's Early '70s Output Compiled For Boxed Set Radiohead Salutes 'Hail To The Thief' With Live Collection What's difficult about reflecting on the cultural remnants of 2005 is the realization of how such uncertain times suddenly seem less dire, even formidably stable, in comparison to the regressive political maelstrom which has engulfed American sensibility 20 years later. And yet, in the middle of the second presidential term of George W. Bush Jr., while the Iraq War raged and Hurricane Katrina tore through the soul of America's South, a project nearly a decade long in the making landed like a meteor, forever altering queer visibility in the cinematic landscape. On September 2, 2005 Ang Lee's Brokeback Mountain premiered at the Venice Film Festival, nabbing the prestigious top honor of the Golden Lion, and launching an awards campaign which would bear significant fruit. Queer representation suddenly felt as if it had reached a pinnacle long out of reach thanks to a film headlined by rising A-list stars Heath Ledger and Jake Gyllenhaal. They portrayed a pair of lovestruck cowboys in 1960s Wyoming, where rigid cultural dictates and virulent homophobia demanded they remain closeted for their survival, inevitably suffocating a romance doomed from its onset. Despite anticipated critiques of a narrative defined by queer tragedy and miserabilism, conversations—thus, our consciousness—about queer inclusivity suddenly began to shift. Retrospective conversations conform to a template which decries the casting of heterosexual actors inhabiting gay roles, but our ability to eventually make such demands and distinctions was certainly assisted by the success of Brokeback Mountain and the participation of its matinee stars, which assisted in broadening the horizons (and legacy) of the film. In short, like most queer films of the period, it depended on appealing to the heteronormative, which means walking a fine line between titillation and empathy. Brokeback was not alone in a burgeoning landscape of celebrated queer films from 2005, with Felicity Huffman in TransAmerica and Cillian Murphy in Neil Jordan's Breakfast on Pluto bowing to certain acclaim, while Philip Seymour Hoffman took home a Best Actor Academy Award for portraying the effete iconoclast Truman Capote. But certainly no film sent tongues wagging more than Ang Lee's overture, which was expected to win Best Picture at the Academy Awards, only to be locked out by the Academy's unwillingness to bestow a queer film with top honors, instead awarding the Paul Haggis' title Crash in one of the award show's most notable upsets in its prolific history. But the film didn't go home empty handed. Of its eight nominations, screenwriters Larry McMurtry and Diana Ossana won Best Adapted Screenplay (based as it was on the 1997 short story by Annie Proulx), Best Director for Ang Lee, and Best Original Score for Argentinian musician Gustavo Santaolalla (who would win a second Academy Award a year later for Babel). Following a theatrical re-release of the film for its 20th anniversary to celebrate Pride month, the soundtrack is slated to receive a vinyl release for the first time. Alongside Santaolalla's original score, the release also included performances from Willie Nelson, Rufus Wainwright, Teddy Thompson, Emmylou Harris, Steve Earle, and Linda Ronstadt. To commemorate the release, Gustavo Santaolalla shared his recollections of working with Ang Lee, how the score bolstered the film's cultural impact, and, in his own words, how 'as humankind we have evolved to some point, but suddenly it seems that we went back 50 years.' How were you first approached with ? It's funny because I have a multifaceted career. I've done lots of different things. I started as an artist and producer making records when I was 17 years old and signed with RCA in Argentina. At the time there were no producers of the music that I was doing, alternative music. I don't think even the word alternative music was coined then. Then I started really getting into production in the mid-'80s, and I had a wonderful phase in my career doing that and won a lot of Grammy Awards. I was always told that my music was very visual. As a matter of fact, I wanted to study cinema. I was always a big film buff since I was a kid. Unfortunately, when I finished high school, I was already making records. The military rulers at the time led me to leave the country and they closed the Institute of Cinematography. There was no more school for cinema so I just devoted myself to my musical career, but I always have this attraction for cinema. Really the first movie that I did was Amores Perros. When I was doing Amores Perros I'd already released this album called Ronroco, named for this beautiful instrument, which actually I don't use in Brokeback Mountain. I think it's probably the only movie that I haven't used that instrument. That album led somebody to tell Alejandro G. Iñárritu, 'You should have this guy do the music for Amores Perros.' I met Alejandro, who asked me if I knew Walter Salles, which then led me to do Motorcycle Diaries. When we were presenting Motorcycle Diaries at Sundance they signed a distribution deal with Focus Features. Of course, Focus got me in touch with the script for Brokeback Mountain, which I loved when I read it. Then, I learned that it was based on that New Yorker story by Annie Proulx. At the time I was touring with Osvaldo Golijov, a classical contemporary composer, producing one of his works and playing some of my stuff with him too. We were rehearsing at Carnegie Hall. Finished the rehearsal, and I received a phone call asking me to meet Ang Lee in Manhattan at the Focus office. I remember I took the subway, and I had my ronroco with me. I came in and we didn't talk that much, but he pointed at the instrument so I started playing. He told me about his idea of using a guitar and it was incredible because I had the same idea when I read the script, the idea of something very spare. I knew my taste in composition, my use of silence and space. I came back to Los Angeles and started writing, composing, and recording, because that's my way of notation. I don't know how to read or write music. I did my guitar pieces and the themes of the leitmotifs. I sent them what I composed three weeks after that. I got a phone call a week later from [film executive] James Schamus and he was laughing because when Ang Lee heard it, he said, 'Damn, this music would be perfect for the movie.' And James told him, 'No, this is the music for the movie.' I remember that phone call as it ended up with James telling me, 'Well, I'll see you at the Oscars.' Imagine. This was only my fourth movie, right? One of the most remarkable things, I think, is the fact that I gave him a ton of music. He used all of it. And all this music was prior to one frame being shot. Nothing was filmed. I did the music on the basis of the script and my connection to the story and the characters. It was obviously Ang's genius to say, 'We're going to put this here, we're going to repeat.' When I saw the first cut of the movie, it was spooky because you couldn't believe that [the music] was done prior. Since then, obviously in 21 Grams also, 70% of the music I've composed [was] prior to seeing anything. Then obviously, you adapt. But the themes, the sonic fabric, it's all there. I remember when James praised my use of 'negative space,' and I've never heard that phrase before. I just knew that I always loved to work with silence. I'm always talking about eloquent silences, not silences that are just empty, but silences that sometimes are louder than the loudest note. For Brokeback it was great because those characters didn't talk that much as they were surrounded by silence, outside silence, and inner silence, too. It was an incredible experience. Also, I could make use of some of the things that also became trademarks. I have an affinity for 'wrong notes.' That's why I also love mistakes. We, human beings, make mistakes all the time. I love mistakes because some mistakes are really truly hidden intentions. I have a nice story that connects with Brokeback. When I came to this country, in 1978, I was really bummed with the rock music situation here. I was coming from Argentina, where I was put in jail many times just for having long hair and playing electric guitar. Music still had that countercultural feeling. When I came here, bands like Boston, Kansas, were considered popular rock. But I preferred this new thing, which was punk. I belong to that generation and I embraced that as this movement had the energy I think this music should have. So I'm just sending my music around town and don't get an answer from anybody. Until one guy from a publishing company, an important publishing company, reached out. I met with a guy. We listened to the tape. I brought my guitar, I played some songs, and then we started talking. The guy said, 'Listen, I got to tell you. You have a beautiful voice. You have great songs, great melodies. In every song, in every musical piece, at a certain point, you seem to hit the wrong chord. You seem to hit a wrong note in every single piece.' I told him, 'Probably this means that we're not going to work together, but I have to tell you that I take this as a compliment.' I am looking for that point of inflection. I'm looking for that imbalance moment. Thirty years later I was reintroduced to him at a party for Neil Young. When this producer realized it was me, I reminded him 'You told me that my music was good. My pieces were good, but at a certain point, I hit the wrong note. I hit the wrong chord. But when I met Anne Hathaway on Brokeback Mountain, she told me, 'Man, in that intro when you hit that dissonant chord, that's genius. Some people now like that wrong note.' I also play the guitar and I leave the noises made by the instrument. Lots of people, when they play and record the guitar, they're trying to avoid any noises when you run your hand on the fretboard. Sometimes I have even pushed those because it gives a human factor to it. That's why I have gotten lots of comments that sometimes my music works as a character in the movies. Those elements and those trademarks are still present in the music of The Last of Us, or in the music of all the other works that I've done, too. Brokeback obviously was the first time that gave me the opportunity to show this thing to the world. It was incredible at that point in my life when that happened. I've already done so many other things, but the Oscars really, it's another kind of beast. It's a totally different thing. Imagine what it was like for me. Unbelievable. Since I was a kid, I always felt that I had something that could connect with people, with my music. But I never imagined something like that would happen to me. Looking back, I don't think you can recall without the score. It's synonymous with the characters. It's interesting listening to you mention silence and dissonance. To quote you from a past interview, 'We search for identity through music.' Your score is the audio identity of these characters. That's the best compliment that you can get. When somehow you feel that the music is an extension or another part of the character, it completes the character. Even speaking about melody, it's rare that it crystallizes in such a beautiful way. Reading about your life, it struck me that you have a lot of interesting parallels with gay men in the U.S., pertaining to your youth, fleeing the dictatorship in Argentina. I don't know if this was true, but I read that the church suggested you undergo an exorcism as a youth. Is that true? Yes, because I was raised Catholic, and I wanted to be a priest when I was very young. I was an altar boy. I had my first spiritual crisis when I was 11 years old. It wasn't because a priest did anything to me. Unfortunately, one has to make that clear. In the Catholic church, they've covered awful abuses for years. No, it was truly a philosophical questioning about some of the principles of the church. I went every Sunday to church, I had communion, and as I said, I was an altar boy. My thought, which I went and talked to the priest about was, I said, 'If God is almighty and all kindness, how can eternal punishment exist? If you violated one of those 10 commandments, you will be in mortal sin, and then you'll be eternally punished.' I could barely understand if you kill someone, but even stealing? I was thinking some people steal to give their kids food. Sometimes they steal from a huge supermarket. Still, as a kid, I had that idea that it wasn't going to do any harm if somebody stole a loaf of bread. And yet, eternal punishment, this was the maxim. I asked the priest 'How is it possible the devil exists? Could it be that the devil actually is on God's payroll?' Imagine asking this of a priest as an 11-year-old kid. They called my parents and my dad, who was an incredible man and lost when I was very young, accepted my beliefs. They kept going every Sunday to church, but the subject of my leaving the church was never brought up in my family again. My spiritual search continues until today. I led a monastic life between 18 and 24. I lived like a monk. I had a group. A band. I lived in a commune, but it was a Yogi commune. We fasted every Monday. We didn't do any drugs or drink any alcohol. We actually were celibate. I was at the peak of my rock success with my band and I led this life for almost seven years. In many ways, it feels imperative to take some time to revisit this film from the perspective of today's regressive climate. At the time it was already ridiculous the movie didn't win Best Picture. We won the Golden Globe with 'A Love That Will Never Grow Old,' [a song from Brokeback Mountain] but the Academy didn't allow it to be nominated because it didn't meet a time requirement for the amount of seconds it had to be in the film. I remember watching the Oscar ceremony and being crushed about the message that was being sent. As you said, the Oscars are another beast, and I don't think at the time they felt they could give a gay film the top prize. Correct. Also, it won Best Director and several other Academy Awards, but that was definitely their prejudice. Remember, this was a movie that they were trying to do for more than 10 years, and nobody wanted to do it. It's so funny many of the main people involved in the movie were not from the United States. Ang Lee is Chinese, the director of photography, Rodrigo Prieto, Mexican. Composer, Argentinean. I think that says something about how in the United States we're not able to really look at ourselves. We need outsiders to reflect on our experiences. I feel this is apparent based on how this film even got made. As a final question, how long was it before you realized the significant cultural impact of this film? Because, as you said, you have a very private way of working. You sent Focus Features this score, this film got made, and then it landed. How long did it take before you realized how big this was? To be honest, in a way, I always felt the weight of the project, the weight of the story. When I read the script, I remember thinking it really was an incredible love story about human beings in which the sexual part of it was anecdotic. It was a story about these people and how broken they were inside. Their story as human beings was transcendental. I thought that this, with the combination that they were gay, was an explosive combination because of the weight of the story, because of the weight of the characters, because the human factor of it was so true. I always felt that something big was going to happen. The controversy became senseless. The message about love and about desolation and longing went beyond any criticism. I'm really, really happy that they're re-releasing the movie, that we're going to have the possibility to see the movie again in cinemas. Remembering the film, especially in the days that we're living. They're going to release the soundtrack on vinyl for the first time. There is a possibility that they will also release the score. Just the score on the vinyl. I'm very happy about all this. Thank you for a really iconic film score. It meant a lot to me personally, and I think to a lot of others. Thank you so much. It is what really makes my life worthwhile. When I see that something that I do can affect people in such a positive way, and that can touch people's hearts, it gives sense to everything that I do. To see our running list of the top 100 greatest rock stars of all time, click here. Solve the daily Crossword
Yahoo
5 days ago
- Entertainment
- Yahoo
Radiohead Salutes ‘Hail To The Thief' With Live Collection
Radiohead is turning back the clock for a look at material from its 2003 album Hail to the Thief, in-concert versions of which have been assembled for the just-released digital collection Hail to the Thief Live Recordings 2003-2009. Mixed by Ben Baptie and mastered by Matt Colton, the project will also be available in a one-off vinyl pressing on Oct. 31 from the Thom Yorke-led band's online store. Radiohead has shared a live video of 'There, There' from a 2009 Buenos Aires to mark the occasion; the rest of the songs were pulled from shows in London, Amsterdam and Dublin. More from Spin: Elbow Keeps Going 'Til the Wheels Fall Off Daron Malakian: 'I'm Blessed to Have Both Scars and System' 'AngelHeaded Hipster' Finally Brings Marc Bolan's Legacy to American Screens As Will Hermes wrote for SPIN at the time, 'Hail to the Thief is driven by psychic stress — in this case, the strain placed on people of conscience by a world in which so-called democracies bum-rush the electoral process and attack nations in lieu of practicing diplomacy. Beginning with its title (a common George W. Bush-dissing protest-poster slogan), the record is filled with war-haunted narrators ready to sandbag and hide ('2+2=5') or lie down in a bunker ('I Will'). Some of them imagine walking amid bullets ('Scatterbrain') and dragging out their dead ('A Wolf at the Door'); others want to suck your blood or eat you alive. And naysayers are powerless. 'We tried, but there was nothing we could do,' croons Yorke on 'Backdrifts,' a conspiracy blues riding antsy digital beats. 'All tapes have been erased.'' 'If the motivation for naming our album had been based solely on the U.S. election, I'd find that to be pretty shallow,' Yorke told SPIN in 2003. 'To me, it's about forces that aren't necessarily human, forces that are creating this climate of fear. While making this record, I became obsessed with how certain people are able to inflict incredible pain on others while believing they're doing the right thing. They're taking people's souls from them before they're even dead. My girlfriend—she's a Dante expert—told me that was Dante's theory about authority. I was just overcome with all this fear and darkness. And that fear is the 'thief.'' Yorke was inspired to release these recordings while working on a newfangled version of Shakespeare's Hamlet set to music from Hail to the Thief. 'I asked to hear some archive live recordings of the songs [and] I was shocked by the kind of energy behind the way we played,' he says. 'I barely recognized us, and it helped me find a way forward. We decided to get these live recordings mixed and released (it would have been insane to keep them for ourselves). It has all been a very cathartic process. We very much hope you enjoy them.' Radiohead hasn't performed live since 2018, but there are rumors the band may be returning to live activity more sooner than later. As for Yorke, he recently contributed the song 'Dialing In' as the opening theme for the Apple TV+ crime series Smoke. To see our running list of the top 100 greatest rock stars of all time, click here. Solve the daily Crossword
Euronews
06-06-2025
- Entertainment
- Euronews
Radiohead X Nosferatu: Why you should be excited about Silents Synced
The original 1922 version of Nosferatu: A Symphony of Horror is set to get a new cinema release – with a brand new soundtrack, courtesy of Radiohead. F.W. Murnau's silent German Expressionist classic, which was based on Bram Stoker's "Dracula" and is widely regarded as an influential masterpiece of cinema and the horror genre, will be set to Radiohead's classic albums 'Kid A' (2000) and 'Amnesiac' (2001). This comes as part of a new series called Silents Synced. Created by Josh Frank, the series pairs iconic silent films with era-defining records. Kicking off in the UK this autumn, the series will begin with Nosferatu – which was recently remade by Robert Eggers. In our review of the remake, we said: 'While fans of Eggers may bemoan this pronounced reverence for the source material, especially since the director's unique sense of creativity has never felt restrained before, Nosferatu's bite will satisfy those wanting purist vampire folklore, more sexual overtones, and a lot of close-up shots of Lily-Rose Depp in states of both euphoria and agony.' Screenings in October coincide with the 25th anniversary of 'Kid A' - a critically acclaimed album widely regarded as one of Radiohead's most ambitious. In 2026, the second instalment of the Silents Synced series will see Buster Keaton's 1924 comedy Sherlock Jr. matched to R.E.M's albums 'Monster' (1994) and 'New Adventures in Hi-Fi' (1996). 'The question for independent cinemas all across the world has become: what can we do to not remain solely reliant on new tentpole Hollywood releases to get product and experiences people can—increasingly—often wait and get at home?' said Silents Synced creator Josh Frank. He added: 'This has led us to something brand new out of necessity, in the same way great outsider art has always been created. It's a whole new cinema experience that we feel both film obsessives and music fans will find something really unique in.' This is not the first time that Radiohead's music has been used to update a classic. Last year, we reported that Radiohead frontman Thom Yorke was adapting the band's 2003 album 'Hail To The Thief' for a new production of Shakespeare's play 'Hamlet'. The production, titled 'Hamlet Hail To The Thief', sees Yorke team up with Tony and Olivier Award-winning directors Steven Hoggett and Christine Jones to create a contemporary adaptation of Shakespeare's play, described as a 'feverish new live experience, fusing theatre, music and movement'. Yorke 'personally reworks' and orchestrates 'Hail To The Thief' for a cast of over 20 musicians and actors, and the music will be performed live during each show. 'Radiohead X Nosferatu: A Symphony of Horror' will be playing in cinemas from 2 October, while 'R.E.M X Buster Keaton's Sherlock Jr.' will be available from 5 February 2026. Visit here for more information. Donald Trump and Elon Musk's friendship is seemingly coming to an end after the tech billionaire pushed back against the US president's divisive One Big Beautiful Bill Act - which he called a "disgusting abomination". Despite public support for one another, Musk's role in Trump's election campaign and his previous (and incredibly controversial) position as head of the Department of Government Efficiency (DOGE), the bromance came crashing down due to the aforementioned bill, which proposes a range of tax cuts and changes to social programs that Musk claims would "burden American citizens with crushingly unsustainable debt". Trump publicly said that he was 'very disappointed with Elon', claiming the former DOGE head 'knew the inner workings' of the Big Beautiful Bill 'better than anybody' and had 'no problem with it' until he realised that the government was 'going to cut the (electric vehicle) mandate'. Musk responded: 'False, this bill was never shown to me even once and was passed in the dead of night so fast that almost no one in Congress could even read it!' The increasingly explosive fallout continued with Trump threatening to cut Elon's government contracts, including with Tesla and SpaceX, and claimed that the CEO was "crazy". "Elon was 'wearing thin,' I asked him to leave, I took away his EV Mandate that forced everyone to buy Electric Cars that nobody else wanted (that he knew for months I was going to do!), and he just went CRAZY!" Trump wrote on Truth Social. Musk promptly hit back, claiming that the President would have lost the election without his contributions to the campaign. He also agreed with an X user that Trump should be impeached. "Such ingratitude," he added. The came the bombshell X post on Thursday, in which Musk alleged that Trump had shared a long friendship with convicted abuser and sex trafficker Jeffrey Epstein. 'Time to drop the really big bomb: @realDonaldTrup is in the Epstein files. That is the real reason they have not been made public.' 'Mark this post for the future. The truth will come out,' Musk added in a follow-up post. White House press secretary Karoline Leavitt dismissed his claims in a statement, saying: "This is an unfortunate episode from Elon, who is unhappy with the One Big Beautiful Bill because it does not include the policies he wanted." As to be expected, the entertainment world has been reacting to this swiftly escalating public feud. Among the first people to react to the ongoing feud was Kanye 'Ye' West, who has publicly and controversially aligned himself with Trump and Musk countless times before. 'Broooos please nooooo We love you both so much,' he posted on X. Piers Morgan reacted to Musk's claims that Trump is in the Epstein File with a 'Holy Shit', before offering both men a platform to 'duke this out for a few hours'. 'BBB actually stands for Big Beautiful Breakup,' commented right-wing activist Laura Loomer, while conspiracy theorist Alex Jones wrote: 'God Help Us ALL….' after Musk's accusation. Steve Bannon, a right-wing activist who has opposed Musk's role in the government, took things up a notch by telling the New York Times that Musk should be 'deported' and that the government should 'initiate a formal investigation of his immigration status.' Elsewhere, popular politician Alexandria Ocasio-Cortez offered her take when asked about the feud: 'Oh man, the girls are fighting, aren't they?' Democratic Senator Adam Schiff joked on X: 'Going to need a Big Beautiful Bucket of popcorn for this ugly brawl.' Comedian, writer and TV host Jon Stewart wrote: 'Good thing Trump didn't willfully hand over the entirety of our country's operating system to Elon and his… oops.' As for celebrated musician Jack White, who has consistently been critical of both Trump and Musk – he wrote in response to Kanye West's post: '3 fucking nazi clowns collapsing under the weight of their own unchecked egos. More popcorn gruppenfuehrer! L to R: Joseph Noballs, Yedolf Hitler, and Herman Boring. Is America 'Great' yet boys?' Une publication partagée par Jack White (@officialjackwhite) Another notable reaction came from Vivian Jenna Wilson, Elon Musk's estranged transgender daughter. Wilson posted a short video of herself with the caption 'I love being proven right.' She also posted a photo on Threads with the song 'Job Application' by Chase Icon and the caption, 'Such beauty in life.'
