... Stephen Colbert, and the swan song of The Late Show, including the return of Strike Force Five.
I’m not taking stock of the wider state of late-night TV, at least directly, right now.
My aim is to gather some of the most interesting coverage of and content related to Colbert’s exit from the 11 o’clock hour after nearly 30 years, dating back to his days as
a Daily Show correspondent, over 20 of them as a host and 10+ broadcasting from the Ed Sullivan Theater.
Hey! Stephen recently led a tour of the Sullivan’s auditorium for Architectural Digest [14:29]. Known as CBS Studio 50 when it housed Ed’s “rilly big shew” and built a century ago as Hammerstein’s Temple of Music by Arthur Hammerstein in honor of his father, it’s possessed — as Late Show viewers have seen — of such remarkable features as a majestic dome refurbished and retrofitted with deft, modern graphic elements by Colbert’s staff.
The above, like all further video links in this post, goes to YouTube.
Need a laugh?
I’m conflicted. The dissonance of firing up the blog again, rooting on my Phillies, and hoping to get out for my birthday this weekend despite such unending pain existing half a globe away is acute. Yet I just passed an hour listening to Episode 5 of the podcast Strike Force Five while doing some graphics work for an upcoming project and the only reason I’m not incapacitated from cackling out loud nearly the entire time is that my asthma’s so bad I’ve kind-of unconsciously trained myself not to push out breath as I’m silently convulsing in hysterics.
Strike Force Five united late-night hosts Jimmy Kimmel, Stephen Colbert, John Oliver, Jimmy Fallon, and Seth Meyers in a series of highly candid, very lightly structured conversations, sponsored to bring in money for their staffs as the strike by the Writers’ Guild of America halted production of their programs. Twelve installments were released over six weeks.
Last Week Tonight with John Oliver was not on last week, but will be on tonight — and with John Oliver. What are the odds, I ask you?
If you’re looking forward to it then you might be interested in Oliver’s chat with Ari Velshi on the subject “The Rigors of Laughter” [38:58] from December. Velshi is a correspondent for NBC News and MSNBC who serves on the board of The Philadelphia Citizen, which presented the interview as part of a day of programming “that brings the most innovative urban thinkers and global thought leaders together to share and discuss bold ideas”. Although neither gentleman was quite sure how to interpret the conversation’s title, it focused on Last Week’s process and purpose.
There wasn’t much in their exchange I hadn’t already heard or read, and Oliver isn’t
as engrossingly hyper-articulate as fellow Daily Show alum Stephen Colbert when he’s questioned in such a setting, but it was still fun seeing Oliver express his delight over the absurd expenditures of time, money, and other resources that his staff concocts.
I praised the pleasant surprise that was John Oliver’s hosting of The Daily Show
when Jon Stewart took a sabbatical last summer. And I was not alone. Many TV critics predicted that Oliver would be promoted from correspondent to host of his own show — probably someplace other than Comedy Central, since a third half-hour* of satirical news and punditry there wasn’t likely. That someplace turned out to be HBO’s Last Week Tonight with John Oliver.
Jon Stewart will return to The Daily Show next week following a sabbatical. He
was in the Middle East this summer directing a film called Rosewater. For the eight weeks out of twelve after Stewart’s departure that the show was not on hiatus, writer/correspondent John Oliver stepped in to host in his stead.
If you don’t already know that, you may not be interested in the video I’m sharing of John Oliver’s appearance on Charlie Rose from Monday, Aug. 8th, just as John-with-an-h was starting his final week as Jon-without’s substitute.
Me, I love this kind of process talk. I’ve been reading behind-the-scenes stuff about
how comics, music, film, and television are crafted (theater and prose, to a lesser extent, too) since I was a kid. It’s not really the gossip, which in on-air conversations like this one is incidental to nonexistent, so much as it is the plain old nuts-and-bolts of how creative work — and in particular collaborative creative work — is made that fascinates.
