Hollywood just bent the drill scene to its will, and honestly, the execution bangs. On 19 December 2025, Timothée Chalamet and Liverpool’s masked enigma EsDeeKid dropped “4 Raws Remix,” a collaboration that transforms movie marketing into performance art. We’re watching history unfold.
Producer Wraith9 keeps the original’s menacing energy intact. The beat slaps with that signature UK drill coldness: sparse 808s that rattle your chest, snappy hi-hats slicing through the mix, and a melody that lurks in the shadows.
This isn’t watered down for crossover appeal. The production stays authentic to the genre’s bleak aesthetic whilst giving Chalamet space to operate.
Written by EsDeeKid, Chalamet, and Wraith9, with JD handling remix duties, the track leans into its own absurdity with surprising sophistication.
Chalamet opens by nodding to his teenage alias Lil’ Timmy Tim before launching into a verse that name-checks his forthcoming film Marty Supreme repeatedly.
“It’s Timothée Chalamet chillin’, tryna stack $100 million / Girl got a billion,” he spits, referencing Kylie Jenner with the casual bravado of someone who knows exactly how ridiculous this sounds. That self-awareness saves the whole exercise.
The bars oscillate between genuine swagger and playful absurdity. “Got model bitches in Peckham / I’m Ryan Reynolds in Wrexham” might be the most Hollywood line ever dropped on a drill beat, yet it works because Chalamet commits fully.
When he raps “My life is an opera, look at the Oscars, look at the groupies, look at the movies,” he’s not pretending to be from ends. He’s flexing his own reality, which in 2025 proves just as valid.
EsDeeKid remains masked throughout the accompanying visual, refusing to fully dispel the conspiracy theories that sparked this collaboration.
The video, released simultaneously with the track on 19 December, shows the pair moving from kitchen to luxury car, maintaining the mystery whilst capitalising on weeks of internet speculation.
This represents something genuinely novel: an A-list actor collabing with a rapper the internet claimed was his alter ego, purely to promote a film. The audacity. The work rate.
The sheer commitment to the bit. Chalamet’s Marty Supreme press run already rewrote the playbook, but this? This transcends typical promo cycles into cultural event territory.
Whether you rate it musically or not misses the point entirely. “4 Raws Remix” exists as proof that in 2025, the lines between cinema, music, and internet culture have dissolved completely.
We’re watching an Oscar contender spit bars over UK drill to market a ping-pong film. Future generations will study this moment.
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