Tuesday March 12, 2019

Desperate Housewives vet Felicity Huffman and Fuller House‘s Lori Loughlin have been indicted for allegedly taking part in a large scheme involving parents who paid bribes of up to $6 million to get their kids into elite colleges, including Harvard and Yale, ABC News is reporting. The indictment was filed by the United States Attorney for the District of Massachusetts; the documents were unsealed early Tuesday. Other schools involved include Yale, Stanford, Georgetown and the University of Southern California. Fifty individuals in total have been charged. More to come…”

The series finale of The Big Bang Theory will air on May 16.

The season 2 finale of Comedy Central’s Corporate airs tonight. If you work for a company of even medium size, you should watch this show.

NBC has renewed The Blacklist for a 7th season.

CMT has ordered new game show Nashville Squares, which is a spinoff of VH1’s Hip Hop Squares.

Discovery has renewed its BattleBots revival for Season 2. New episodes will premiere on both Discovery and Science this summer.

I figured out who this Colton Underwood is a cross between: Blake Griffin and Dan Majerle. Click on both links and tell me you disagree!

A review of Hulu’s Shrill.

Kevin Hart’s new Netflix stand up special will be available to stream on April 2.

“A former Pretty Little Liar is entering the Archieverse. Lucy Hale will play the titular fashionista in The CW’s Riverdale spinoff pilot Katy Keene, TVLine has learned. Per the official logline, this potential series ‘follows the lives and loves of four iconic Archie Comics characters — including fashion legend-to-be Katy Keene — as they chase their twenty-something dreams in New York City. This musical dramedy chronicles the origins and struggles of four aspiring artists trying to make it on Broadway, on the runway and in the recording studio’.”

Is it more expensive to be a cord cutter yet?

Here’s a trailer for new Hulu show Ramy. “Ramy Hassan is a first generation Egyptian-American who is on a spiritual journey in his politically-divided New Jersey neighborhood. Ramy will bring a new perspective to the screen as it explores the challenges of what it’s like being caught between a Muslim community that thinks life is a moral test and a millennial generation that thinks life has no consequences.”

CBS Sports and Turner Sports have announced their lineup of announcers for their coverage of the NCAA Division I Men’s Basketball Tournament, which begins next week: Jim Nantz, Grant Hill, Bill Raftery and Tracy Wolfson will call the national championship and semifinals on CBS. Jim Jackson, Brad Nessler, Steve Lavin, Evan Washburn, Spero Dedes, Steve Smith and Ros Gold-Onwude will call the First Four and Rounds 1 and 2. Studio coverage will include Ernie Johnson, Greg Gumbel, Charles Barkley, Candace Parker, Wally Szczerbiak and Adam Zucker.

“Tyrese Gibson seems to have found a natural TV fit. The star of the Fast & the Furious franchise is teaming with Mark Burnett and MGM Television to produce Celebrity Grand Prix, pitting famous faces against one another on the racetrack, and the actor also will host the new reality competition. The project, currently being shopped to networks and platforms, is described as a ‘fast-paced competition where celebrities from all walks of life will be trained by professional race car drivers,’ before facing off on the asphalt.” Please don’t buy this networks.

Taika Waititi is developing an adaptation of Terry Gilliam’s 1981 film, Time Bandits for Apple as a TV series, an individual with knowledge of production told TheWrap. Waititi will co-write and direct the pilot for the potential series, which is being co-produced by Anonymous Content, Paramount Television and Media Rights Capital. He also will serve as executive producer alongside Gilliam and producer Dan Halsted. Time Bandits follows the time-traveling adventures of an 11-year-old history buff named Kevin who, one night, stumbles on six dwarfs who emerge from his closet. They are former workers of the Supreme Being who have stolen a map that charts all the holes in the space-time fabric, using it to hop from one historical era to the next in order to steal riches. Throughout the movie, they meet various historical and fictional characters, including Napoleon Bonaparte and Robin Hood, while the Supreme Being simultaneously tries to catch up to them and retrieve the map.”

I hope the CEO of UTA (Jeremy Zimmer) is prepped for eternity in hell, because he belongs there. Here are excerpts from a letter to his clients that he sent out this morning regarding the WGA-ATA battle: “Packaging has been around for a long time. Agencies have made a lot of money when shows are successful, and in some cases they have lost money when shows haven’t worked. How do we lose money? We lose money because we waive commission on every actor, writer, director, and in fact anyone we represent, who is working in the show. In some cases that cumulative commission is significantly more than the packaging fee that is collected on a per episode basis. When we have a lot of talent on a show and the show doesn’t last and achieve some back end, we do not recoup those lost commissions. This happens more frequently than the times we make a lot of money on a show, as there are many more shows that don’t make it than there are big hits. But big hits make up for a lot of losses. David Goodman’s video will tell you that the per episode packaging fee more than covers our waived commission on the shows we package. That simply isn’t true. . . . We aren’t saints. We are tough businessmen and businesswomen who happen to love artists. We are so fortunate to work in an industry that allows us to be warriors for ideas and artists. There is true nobility in fighting for the people we represent and sometimes that gets lost.” LFMAO.


Per The Hollywood Reporter, “Mike Judge is staying put at HBO.

“The Silicon Valley co-creator has inked a new, rich two-year overall deal extension with the premium cable network that includes production commitments for a pair of two new comedies: QualityLand and A5. Both series reunite Judge with writers he previously worked with on shows including King of the Hill, Silicon Valley and Beavis and Butt-Head.

“The pact, which sources peg as in the eight-figure range, arrives as many — including Judge — have hinted that the upcoming sixth season of Silicon Valley could be its last. (HBO has declined comment on any endgame plans for the awards darling.) The overall deal includes all forms of TV, save for animation. Judge currently has Tales From the Tour Bus — an animated country western-themed documentary comedy airing on HBO sibling Cinemax and has been mulling a revival of former Fox hit King of the Hill.

QualityLand is described as the story of humanity's struggle against the tyranny of convenience. Judge will co-write and executive produce the pilot with Josh Lieb (Silicon Valley, The Tonight Show, The Daily Show). The series is based on the novel of the same name by Marc-Uwe Kling and is a co-production between HBO and Lionsgate.

A5, meanwhile, is described as a limited series centered on a bioengineer who discovers the gene that makes a person an asshole and attempts to answer the questions nagging at all of us: Why do assholes exist? Why have they come to dominate our culture? And can they be cured?

“Judge will co-write and exec produce alongside Etan Cohen (King of the Hill, Beavis and Butt-Head). Rotenberg and 3 Arts Productions are also attached as exec producers.

“The Judge pact and pair of series arrive as HBO is ramping up its originals as new corporate parent WarnerMedia looks for more from its new crown jewel. The deal helps keep Judge in the HBO fold as WarnerMedia ramps up its streaming service, which will also include content from all of its cable networks, including the premium outlet.

“The Judge deal arrives as the market for top showrunners continues to explode as media behemoths including Disney and Comcast are entering the streaming space to compete with Netflix, Amazon and upstart Apple. Streamers like Netflix have driven up the price — and demand — for top showrunners like Judge.”


“Showtime has put out an order for the eight-part limited series Good Lord Bird from Blumhouse Television, Variety has learned.

“The series is based on the award-winning novel The Good Lord Bird by James McBride, and will star Ethan Hawke as 19th-century abolitionist John Brown. Hawke is also slated to co-write and executive produce the project alongside author and producer Mark Richard (Hell on Wheels), with American Crime Story director Anthony Hemingway in place to direct and executive produce.

Good Lord Bird is told from the point of view of Onion, an enslaved teenager who becomes a member in Brown’s motley family during the time of Bleeding Kansas, eventually participating in the famous 1859 raid on the Army depot at Harpers Ferry. Brown’s raid failed to initiate the slave revolt he intended, but was the instigating event that started the Civil War.

“‘Good Lord Bird is one of my favorite books, told with wit, grace and wisdom by the great James McBride,’ Hawke said. ‘Bringing this story to the screen has been a passion project of mine, and I am incredibly fortunate to have partners who are equally enthusiastic and are making it a reality – my wife and producing partner Ryan Hawke, and my longtime friends at Blumhouse. I’m looking forward to working for the first time with the talented folks at Showtime and Anthony Hemingway – both of whom have made some of the best television in the last couple years.’

“Hemingway, who will exec produce via his production company Anthony Hemingway Productions, commented that ‘the climate is ripe’ for content like Good Lord Bird to be produced, and that working with Hawke will ‘fulfill a bucket list experience.’

“‘I’ve been blessed to tell great stories that make deliberate social impact by tackling topical issues facing the world, especially communities of color. With all that is going on culturally, socially and politically, the climate is ripe for material that is culturally relevant and provocative. Literature is truly transcendent and McBride blew our minds with The Good Lord Bird,' Hemingway said. ‘Directorially, this will be filmmaking at its most artistic and I get to fulfill a bucket list experience – working with the incredible Ethan Hawke.’

“‘This is just the right time for The Good Lord Bird. I wrote it to show we Americans are family – dysfunctional, screwy, funny, even dangerous to one another at times, but still family nonetheless,’ McBride said. ‘Old John Brown always had a knack for landing into the right place at the right time. I’m delighted he’s landed in the lap of one of America’s most gifted and literate actors. Ethan Hawke is special, and I’m thankful that Showtime and Blumhouse have shown faith and trust in one of America’s oddest, most profound, and greatest heroes.’”

This article has been condensed.


Self-professed daytime TV fan (and frequent talk-show guest host) Jerry O'Connell is getting his own show, at least for a short time.

“O'Connell will host Jerry O, a comedic talk show from producers Funny Or Die and Lionsgate's Debmar-Mercury (The Wendy Williams Show). It will get a three-week trial on some Fox-owned stations starting Aug. 12.

“In addition to the usual celebrity guests, Jerry O will also include comedy segments from Funny Or Die produced just for the show. It will mark the company's first time producing a daytime show.

"‘We are big believers in trying new concepts and excited to once again be collaborating with our friends at Fox,’ said Debmar-Mercury co-presidents Ira Bernstein and Mort Marcus. ‘We have come to know Jerry as a true talent whose infectious charisma and authenticity have made him a favorite of many daytime talk show fans, and we are so glad to provide him with this opportunity to shine.’

“O'Connell has been a guest host on The Wendy Williams Show and a number of other daytime talkers, including Live With Kelly, The Talk and The View. He also co-hosted Bravo's late-night show Play by Play, which had a brief run in fall 2018.

"‘I love daytime. I love watching it and have fallen in love with guest-hosting it,’ O'Connell said. ‘Whether asking people to “Cash Me Outside” or asking them “How You Doin’?,” daytime is a big part of my life. I am thrilled to work with my friends at both Debmar-Mercury and Funny Or Die. I have been collaborating with both companies for years and am so excited to bring a little bit of the traditional — and something brand new — to the audience. This is going to be a fun, fun time and everyone is invited. Let’s party.’

“Added Funny Or Die CEO Mike Farah, ‘Jerry is one of the all-time great guys. He's funny and smart and his energy is contagious. We're proud to collaborate with him and Debmar-Mercury and think this is the perfect show for Funny Or Die's first foray into daytime television.’"


Per Vulture, “[w]e may never know whether or not John Mulaney wrote for Saturday Night Live, but one thing’s for sure: He’s one of the nicest and funniest comedians working today. Thankfully, 2019 has given us a whole lot of Mulaney so far, from his standout Sondheim-inspired episode of Documentary Now! co-written with Seth Meyers to his appearance at the Academy Awards alongside Awkwafina to his return as SNL host earlier this month, which featured a bodega-themed sequel to last year’s instant-hit Diner Lobster sketch.

“Mulaney recently spoke with Vulture about these and many more topics, including his desire to write a Broadway musical, some thoughts on feuding New York law firm Cellino & Barnes, and what it’s like to see himself turned into memes on Twitter. He also opened up about his decision to part ways with manager Dave Becky in late 2017 after the New York Times reported on Louis C.K.’s sexual misconduct, in which Becky, C.K.’s former manager, was accused of working to keep the women’s stories under wraps. ‘I’m happy to have it on the record that I am not working with Dave and made that decision, and again, I think the less oxygen I take up in this conversation, the better,’ Mulaney said, noting that the C.K. story is a signal for men in comedy to step back and listen to women. While his departure from Becky was a quiet one, Mulaney says he’s been waiting and ready to confirm the news to any journalist who asked — it just took a year-and-a-half for it to happen:

First off, I should probably address the elephant in the room and just say thank you so much for supporting and contributing to my investigation about whether or not you wrote for SNL. It was appreciated.
I want to thank you for digging deep, and honestly, it was very hilarious to watch. And as I looked through, I was like, “Well, what can I add to this?” and I did see there are inconsistencies worth exploring. I was going to send you the fact that I had a special and an album come out in 2009 when I was supposedly working on the show, and I did record the Comedy Central Presents I did in 2008 on a commercial writing night in August. So I apologize for not giving you that lead, but I was very excited to find photos that were literally green screens.

You gave me plenty to work with.
When did you begin peeling this onion of how I didn’t write at SNL?

Well, what happened was, you did the SNL promo where you were auditioning for the show going back years, so I wrote a post about it. 

It was a funny promo. But the headline I used for the post was “HeySNL, Please Hire This John Mulaney Kid.” And on Facebook, there were comments from a couple guys saying, “Um, he wrote for SNL,” or, “You don’t even know that?” — “Megh, come on, you should know this.” So I just kind of …
Oh, that’s great. People just opened with condescension?

Exactly. So that was the genesis. And I decided instead of just taking their word for it, I would try to find the truth on my own. I’m sorry that you got dragged into it. You just happened to be the point of contention for the whole saga.
No, I couldn’t have found it more enjoyable to watch roll out. And the amount of people who didn’t get it and clapped back at you was insane.

Related to this, I have a question. You know the “John Mulaney as …” meme where people post screenshots from your specials related to a certain theme? Or just the general idea of being turned into a reaction GIF? What is it like to experience that happening to you? Is it weird to see yourself meme-ified?
It sounds like mummified, which is … I’ve never heard it used that way. It is, yeah. It is very funny when my wife or a friend, after I text something stupid, will send me a GIF of myself as a way to put me down.

Your wife does that to you?
Occasionally, yes. [Laughs.] I’m trying to remember one from recently. I know that I was on a text chain with my friend Pete [Davidson] and my wife, and they were both sending GIFs at me and as a way to put me down in a very fun way.

That’s great.
In terms of the using quotes thing, I saw one of them that was Shakespeare plays, and I was embarrassed because I didn’t know enough about the plays to get how the quotes of mine matched up. So I sort of appreciated it, but I kind of felt very uneducated.

Well, that’s kind of great in a way, you know? That your material could be turned into something where even you don’t understand it.
If I don’t understand how my own material relates to Othello or King Lear, I can still nod and pretend I do.

You and Awkwafina were a really good pair at the Oscars last month, and you mentioned that it was your first time there. What was that whole experience like? Did anything interesting or funny or crazy happen that we didn’t get to see?
It was very fun to present with Awkwafina, and we were both genuinely that nervous and excited to do it. Right before we went out, in the rehearsal on Saturday, they had said, “It’s a piece of tape, and then you guys come out.” And we were like, “Okay, great.” And then on Sunday during the live telecast, we were waiting backstage in the wing, and we just heard the announcement say, “Ladies and gentlemen, Mike Myers and Dana Carvey.” We were backstage and they were doing Wayne’s World. And we were like, “Wait a second. I thought you said we had to follow a piece of tape.” And they’re like, “They introduce this clip.” And we were like, “So we have to follow Wayne’s World?” We genuinely thought we would be following, like, the head of the Academy introducing a video of how they tally votes or something. And then we were following one of the most famous comedy duos ever. So then we got double nervous.

The beginning of the night was also very interesting, and … a strange sight of several billionaires singing along to We Are the Champions. It’s a strange thing to see. Especially if they’re, like, head-banging. You know, it’s a wonderful song, but something about the lyrics and the makeup of the audience … it was definitely a unique thing.

Your suit choice, by the way, was fantastic. Your stylist was on their game.
Yeah. Michael Fisher picked that out for me and leased it to me. I didn’t spill anything on it and returned it the next day. A true Cinderella story.

It was very nice. It was just grabby enough without being too grabby.
I like the term grabby, and I’m gonna use it.

It’s yours. So, after your episode of SNL aired last weekend, I couldn’t help but notice that there were two toilet-related sketches.

What is it about toilets that you’re so drawn to?
Well, [former SNL writers] Simon Rich and Marika Sawyer and I always felt that … Well, I won’t speak for them, but I felt there was an inherent tone in our comedy that going to the bathroom is far more interesting than sex in many cases, and there’s too much humor about sex and not enough about going to the bathroom, and that occasionally, even sexual humor will be referred to as toilet humor. But there really isn’t enough exploration of the very serious situation that is going to the bathroom as an adult. So we had written Toilet Death Ejector I think in 2009 at the beginning of my second season there. And twice we tried to get it on, and we didn’t. It was kind of our most beloved orphan.

At the same time, independently, I was talking with Colin [Jost] the week leading up to the show about some ideas for a musical number I guess that would be cousin to the Diner Lobster sketch. And I just thought that trying to use a bathroom in a bodega is a difficult, sometimes taboo New York rite of passage. I only noticed there were two toilet sketches on Wednesday when they were both in the read-through. I mean, you know, they’ve shown us multiple sketches about Trump every week, and toilets make people far happier than Donald Trump ever did.

That’s true.
But yeah. So it was discussed, and I can’t say that it was a surprise.

So when you’re a former SNL writer resurrecting a sketch that you never got to get on the air —
Thank you, by the way.

You just tipped your hand that you have bought into the lie.

Oh, no, actually I’m just playing into the bit that you used to write for SNL, but I see what you’re saying. 
Yeah, I know. You’re buying into the prolonged Andy Kaufman bit.

So when you’re hosting and get an old sketch on, do you have to fight for it? Or is it just like, “Well, John’s hosting, he wants this sketch on, put the sketch on!” How does it work? 
Oh, no, no. No, no, no, no, no. The former, I guess. I wouldn’t say I have to fight for it, but they always have to prove themselves at the table.

On Saturday, I wrote a sketch with Simon and Marika that was cut from dress that just didn’t quite fly that we were very excited about as well. But while I have loved that I’m able to resurrect some things that I wrote with friends or write things with Colin that we were able to put on, no — I definitely think they were operating on a how-they-played basis.

Is there a difference between hosting the first time and the second time? I imagine there might be lessons you can only learn by actually hosting SNL.
The first time, I have to admit, I had a lot of fun on air, but I was really terrified all week. It was something close to dread. I had never experienced the other side of the show, let alone hosting. I’d only done pieces at the “Weekend Update” desk where you’re looking into one camera. For as many times as I’d written and produced sketches on the show, I had never had to be in a sketch that I’d written or a sketch that I didn’t write. And I remember asking I think Mary Ellen Matthews, the photographer, after we blocked a sketch, “Do you know when I get to go upstairs and rewrite this?” She laughed and said, “You’re never gonna rewrite it.” And it was true — the week is jam-packed with activity, and you don’t get to have the monastic writerlike moments to work on stuff. I had a lot of great friends there who were writing, and therefore it was a thing I shouldn’t have worried about. But I was very rattled going from being like a busboy to the maître d’. Even though as a busboy-slash-writer I thought I knew everything about the restaurant — if I may stretch this metaphor — that is Saturday Night Live.

I had a great time on air, but I was very shook all week. This year, I genuinely had a wonderful time Monday to Saturday night, and we had an embarrassment of riches in material. I mean, Cecily [Strong] had a Dianne Feinstein piece that was cut for time, which was brilliant. It was one of the funniest things from the table read. So we had a great stock of stuff to do on the show, and it was just really fun to be back and kind of know that I should surrender to the schedule and flow of it. It was probably one of the best weeks I’ve ever had there.

Are there writers at SNL — especially newer ones you hadn’t worked with before — whose work and sensibility excite you?
Oh, yeah, absolutely. It’s such a great staff and cast, and it was very fun to have a lot of collaborations with people. I hesitate to single people out, because I think it is overall such a strong staff. I really enjoy Julio Torres’s work and Bowen Yang’s work, and Sam Jay and Brian Tucker wrote the Cha Cha Slide sketch that I was really, really lucky to be in. I think Brian had the idea and was working on it all week with Sam, and Gary Richardson also was wildly instrumental in my and Colin’s Bodega Bathroom piece. So they were some of the ones I worked with the most. But I have to say, on Tuesday night at read-through, I was really excited by how many great pieces there were by newer writers and writers that had been there for a little bit.

So between Diner Lobster, Bodega Bathroom,”and Co-Op”on Documentary Now! you clearly love musicals. Is actually writing a Broadway musical something your fans could sincerely hope for? Is that something you would enjoy checking off the list?
Oh, yes, absolutely. I would love to write the book and maybe even lyrics for a Broadway musical. I realize that so far my musical repertoire is very, very limited to small issues in Manhattan, from Co-op to Lobster to Bodega, so I cannot promise that I can expand my palate. I simply cannot promise that.

I mean, the specific is universal, though, isn’t it? 
I think so. And I also grew up in Chicago, which, while a city, is not New York. And I always liked when Saturday Night Live talked about New York or had jokes about Dinkins or the subway. I just liked pretending to know what that meant or feeling like I was in on a joke.

I wonder about that when SNL references stuff like Cellino & Barnes. Documentary Now! is a similar case — even if you’re not really familiar with the original reference, if it’s funny, it’s funny, you know? 
Well, I do agree with that — that if something just seems funny, that’s all we want it to be. We did have a slight discussion — it was either very late on Friday night or between dress and air — if Cellino & Barnes were national. I think it was the first time it was discussed. I only remember because I started laughing. It was the first time we wondered if they were New York only, tristate, or perhaps the way Empire Carpet was in several states. Cellino & Barnes: What is their reach? That was discussed very late into the week.

Didn’t one of them sue the other one? I thought they broke up.
You know, I keep hearing that.

I remember seeing a story about how they split up, one of them used a ripoff of their jingle, and then the other one sued or something. 
[Laughs.] The lawsuit was jingle-based?

I’m not sure if the lawsuit was jingle-based, but there was some kind of legal battle between them. I’d have to look it up. But it’s a whole thing. 
I was driving on the West Side Highway last night, and I saw a big billboard for Cellino & Barnes with “800-888-8888,” and it looked new. And I just assume if you’re that litigious — if both of you are that litigious — you would take down the billboard if things were getting that acrimonious. But then again, I’m no lawyer.

I’m Googling it now and seeing articles from December 2017 about it, so I don’t know what the heck’s going on these days. But there was a breakup of some kind. And yet the commercials are still on, so I have no idea. 
It’s possible it’s just a brand and there are a team of young associates not associated with the falling-out, but I don’t know.

I don’t know either!
It’s a real Guns N’ Roses situation where the name might be living on.

Back to musicals for a second, I just wanted to bring something to your attention. I’m not sure if you know Natalie Walker, but she’s a very funny comedian who tweeted recently that she wants you and Rachel Bloom to host the Tonys together. I imagine Rachel would be fine with that, but I wanted to run the idea by you. 
I try not to accept jobs that I haven’t been offered, but yes, I would love to do that. Rachel Bloom was fantastic at the Tonys the year Nick [Kroll] and I presented. You know, look, I don’t know if anyone’s offering it to us, but … We’ll take it, and we only have a small rider.

Since the New York Times reported on Louis C.K.’s sexual misconduct in late 2017, there’s been criticism and concern about C.K.’s former manager Dave Becky, who represents a lot of comedians. He allegedly played a part in keeping C.K.’s accusers silent, which discouraged some of them from pursuing careers in comedy, since he’s such a powerful figure in the industry. It’s been somewhat known among comedians that you decided to leave Becky after the Times report, but I don’t think it was ever officially confirmed. So is it true?
Yes, it is true. I stopped working with Dave Becky in November of 2017.

Why haven’t you said anything about it? 
When it happened — when I made the decision — in terms of why I didn’t make a press release, honestly, I didn’t feel I had anything that noble to add, and issuing a simple statement of one sentence that I fired Dave seemed evasive and honestly an unhelpful use of everyone’s time and taking up oxygen. I did tell anyone who asked — comedian, representative, or otherwise. And I have been quite ready to tell any journalist who asked, and I believe you are the first. So if I am mistaken and someone did, I apologize, but I think you are the first to ask.

You’ve done a good deal of interviews since then — I wonder why no one asked. Maybe in an otherwise lighthearted interview, an interviewer might get worried it would make you mad? I don’t know.
I would hate to think anyone would be concerned about me being mad. I won’t pretend that I did not wonder if someone would ask over the past year-and-a-half, but I’m happy to clear it up.

I do find the whole thing really frustrating. Becky represents and works with so many people in comedy, and most of them haven’t left him or are even willing to engage with the issue. Why do you think that is?
I truly would not want to speculate or speak for other people. I would assume everyone had their own particular relationship to these events, and it would be inappropriate for me to speculate. I can only say I made the decision that I thought was right at that time.

This has opened up a big discussion among comedians about how to make the industry safer. Whether it’s about comedy clubs or the bigger structural issues that Becky represents, do you have any general thoughts on all this?
To be quite honest, I have a lot of thoughts and opinions on many things. I don’t think my thoughts and opinions matter in any way compared to the women who have been directly affected by these actions. I say this not at all to be evasive, but just to not talk anymore as a male in comedy who has not had to experience this. Other people should. Women’s opinions matter, and mine does not.”