... 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.
One week after his 25-hour speech on the Senate floor began, Cory Booker spoke to Stephen Colbert on The Late Show with familiar eloquence.
“You and I are people of faith,” Booker told the host near the end of the conversation, “but there is a Civic Gospel in this country that we need more than ever.” He noted that the Declaration of Independence from a kingdom overseas was a declaration of interdependence among the people of this emerging nation as well. An extended version of the interview is now up on 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’ll wager that most of you are familiar with James Corden’s Carpool Karaoke, a
— really, the — standout feature of his brief tenure as host of The Late Late Show on CBS. You’ve probably already seen its latest installment, in which Corden drives around Manhattan with Lin-Manuel Miranda, Audra MacDonald, Jesse Tyler Ferguson, and Jane Krakowski. So you don’t need me to link to it.
But I just did anyway.
My contributor copy of Michael Allred: Conversations, edited by Christopher Irving for University Press of Mississippi, arrived yesterday. The longest of its 13 interviews — some Q&A, some article-style — is the wide-ranging talk that Stefan Blitz and I had with Mike for Comicology in 2000. It’s a smart little hardcover sure to be a fascinating read.
Allred made a bit of noise with Grafik Musik before really turning heads on his creator-owned pop sci-fi existential superhero adventure Madman. Even a cursory list of his credits wouldn’t be complete without mentioning his Marvel work on X-Force, FF, and most recently Silver Surfer or the Vertigo series I Zombie, created by Allred with Chris Roberson and now a hit CW show whose cool opening credits feature his art.
John Oliver wasn’t the sole member of Comedy Central’s late-night team giving
us process junkies a peek behind the curtain in the past couple of weeks. Stephen Colbert was interviewed by Paul Mercurio, who does warm-up for The Colbert Report, over nearly an hour on a variety of topics — but mostly about the Daft Punk fiasco. You can listen to the podcast free.
Daft Punk, scheduled to be on Colbert’s show earlier this month, bowed out and/or
was yanked over misunderstandings and Viacom internal politics due to the mysterious French faux-robots’ upcoming special appearance at last weekend’s MTV Video Music Awards telecast.
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.
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Last Thursday Conan O’Brien, now holding court weeknights on TBS’s Conan, stopped by CBS’s The Late Show with David Letterman to chat with Dave about something the hosts rather infamously have in common.
I refer of course to sons playing tee-ball.
They also found time to discuss each man, in his own way, having been screwed out
of the former marquee gig in late-night broadcasting — Johnny Carson’s (and Jack Paar’s and Steve Allen’s) old chair behind the Tonight Show desk — by NBC in favor of Jay Leno. It’s a metaphorical chair, to be sure; Tonight hasn’t been filmed in the studio Carson used, let alone with the same “home base” furniture and props, since Johnny left. And the TV landscape sure isn’t the same as it was when Conan took over the post-Tonight slot at NBC from Dave when Letterman went to CBS to challenge Leno, never mind how different it is from Carson’s heyday.
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If you’re looking for a laugh amidst pre-Oscar fatigue (or just because), I direct you to
a gallery of doctored movie posters over at The Shiznit.
Ali Gray has reworked posters for the annual glut of prestige films to give them titles and taglines bluntly reflective of what the viewing public and/or the promoters think about them.
While I ended my last post on an almost reverently expectant note, I’ll admit to harboring a certain amount of dread that The Muppets will turn out to be unfulfilling or, worse, offensive in some way to its heritage. No matter how satisfying it may be on the whole it can’t help but lack an essential ingredient.
Of course, I’m speaking about Jim Henson — who invented the Muppets, performed Kermit the Frog among many others (Rowlf the Dog, as much his alter ego as the little green dude, included), and guided a sublimely creative, colorful enterprise for decades.
Christmas arrived at The Late Show with David Letterman a day early. Dave is always preempted on Christmas Eve so that CBS can air Mass, but this time the fabled meatball was toppled from the Ed Sullivan Theater’s Christmas tree on the night before the night before the Night before Christmas — when Dave rammed into the tree on a go-kart. He was trying out toys again with Shannon Eis.
A clip of the joy ride is up at the show’s website now; I don’t know how long it will last.
News came on Friday that comics giants DC and Archie will release their very first actual crossover in October when the Little Archie gang meets the cast of Tiny Titans.
I don’t usually blog about press releases or topical stuff, but this announcement is
way cool. The 3-issue project is the work of Tiny Titans regulars Art Baltazar and Franco Aureliani, whose consistently delightful efforts have won the title an Eisner Award in the category Best Publication for Kids.
J.J. Abrams’ Star Trek was released on home video this past Tuesday.
I look forward to sitting down on a cold, dark night during the post-sweeps/holiday
lull in new television and digging into its special features. The Abrams commentaries
on the pilot episodes of Lost and Fringe — the latter with Trek screenwriting duo Alex Kurtzman & Roberto Orci — were top-notch. I’m almost glad that I don’t have a Blu-Ray player since the regular 2-disc edition looks just right in terms of my level of interest in extras.
I keep neglecting this post on The Puppini Sisters, and the universe keeps reminding me to write it up.
Back in March, during an episode of NBC’s Chuck, I heard a rendition of The Bangles’ “Walk Like an Egyptian” in the close-harmony swing style of The Andrews Sisters piped into the background and was smitten. I’d just been introduced to The Puppini Sisters — a trio formed in the UK in 2004 that actually consists of one Puppini and two friends, I learn from their Wikipedia entry and a short interview with Marcella Puppini [bad link] that’s cited therein. Marcella’s catalyst was the great French animated film Les Triplettes de Belleville; further inspiration came from those Andrews gals, their antecedents The Boswell Sisters, and Marlene Dietrich.
Marcella, Stephanie O’Brien, & Kate Mullins’ two full-length CDs together, 2006’s Betcha Bottom Dollar and 2007’s The Rise and Fall of Ruby Woo, mix renditions of such vintage material as The Chordettes’ staple “Mr. Sandman” and the Andrews Sisters classic “Boogie-Woogie Bugle Boy” with covers of more contemporary pop like “Egyptian”; Woo also includes a few choice originals. Only a handful of songs are currently streamable at the Sisters’ MySpace page, but clipped versions of many run continuously at their eponymous website. Sadly, I can’t find a complete album version of “Walk Like an Egyptian” to share at this writing, and I don’t link to illegally uploaded material as a general rule, but you’ll get snippets at Amazon or the iTunes store. If you really want to hear the whole track before buying it you won’t have to search very hard.
Splash panel of “The Mormon Battalion!” in Our Fighting Forces #135 © 1972 DC
Comics. Script, Pencils, Inks: Ric Estrada. Letters, Colors: Unknown.
Artist Ric Estrada passed away last Friday. He was 81.
While he didn’t rank among the best known comic-book pros, Estrada’s held a place
in my heart for decades thanks to his part in the revival of All-Star Comics in 1975.
I’ve been learning that he holds a place in the hearts of many others for very different work: illustrating passages from what’s popularly known as the New Testament, plus The Book of Mormon, for the Church of Jesus Christ of Latter-Day Saints as sampled below. Or perhaps not so different, given the superhero genre’s modern spins on ancient myth and legend, but that’s not the purview of this post.
The Daily Show on Monday night was a great example of Jon Stewart and his
writers at the top of their game. Stewart’s rant at CNBC and Jim Cramer in particular is the best excerpt. You could also just watch the whole megillah. [see below]
