On last night’s "The Daily Show," host Jon Stewart interviewed the excellent comedy duo Key and Peele, whose show on Comedy Central is one of the slyest, strangest treatments of race on TV. One sketch featured an inner-city substitute teacher who insists on changing his name from Aaron to A.A.Ron. In another, they played slaves on an auction block, at first intent on rebelling but unable to resist the urge to compete over who gets sold first.
In the November 25th issue of the magazine, I wrote about the spectacle of Piers Morgan's gun control crusade, which required watching a brain-melting number of hours of Morgan's CNN show. So here are some of the most egregious moments from his past year of tabloidism as activism:
For four decades Ned Beatty has been the unofficial spokesmodel of Appalachian tourism. Even if Beatty, scrambling around in the woods wearing his tighty-whities, isn’t anchored in your somatic memory—even if you have no idea who Ned Beatty is—you know what his character endured in the 1972 film Deliverance.
Kerry Washington's versatile performance couldn’t save a show that didn't know what to do with her.
This week, in a beautiful convergence of art and life, TV drama delivered two ripped-from-the-headlines Anthony Weiner storylines: one on “Scandal” and one on “Law and Order: SVU.” Taken together, these episodes offered a goofy funhouse mirror of Weiner’s outsized role in the pop cultural imagination. “This story is fictional and does not depict any actual person or event,” lied “Law and Order” in its disclaimer.
Why Congress shouldn't pass bills late at night: The comedians are left with dated material
The surreal seriousness of his new MSNBC show, 'Up Late"
The set of Alec Baldwin’s new MSNBC talk show “Up Late,” which premiered Friday night, is a wood-paneled diner with green leather booths and an image of the New York skyline twinkling through a fake window. There’s a ghostly quality to all those empty tables. Lonely place settings are arranged on the countertops like funereal bouquets. The first episode opens with Baldwin leaning stiffly against a booth, his expression grave.
Covering the shutdown may have diminishing returns for journalists, but for comedians it has provided seemingly endless grist. (With varying success: my colleague Isaac Chotiner wrote a post last week on Jay Leno’s very bad shutdown jokes.) The counterpoint to Leno's goony "who needs the government anyway" shtick is, unsurprisingly, Jon Stewart, who has proved himself to be the king of shutdown humor.