Tuesday May 28, 2019

That was on hell of an ending to season 2 of Killing Eve. More below, including spoilers, so fly right by if you haven’t watched yet.

I’m halfway through season 3 of Sneaky Pete, Marvelous appearances by both Mike Ross and Jeffrey Ross aside, season 3 is significantly better than season 2, which I labored through. If you had given up on this one, I’d suggest giving season 3 a look.

I’ve tried twice to get into Catch-22 on Hulu, to no avail.

I struggled mightily to get through What/If on Netflix. It’s awful. I would implore you not to waste your time.

NBC has canceled A.P. Bio.

The 3rd and final season of Jessica Jones will be available to stream on Netflix on June 14.

Season 4 of Animal Kingdom premieres tonight.

HBO premieres Running With Beto tonight as well. “David Modigliani’s behind-the-scenes documentary Running with Beto follows Democratic Congressman Beto O'Rourke's rise from virtual unknown to national political sensation. Modigliani embedded with the O'Rourke campaign for a year as O’Rourke staged a bold, grassroots attempt to unseat Ted Cruz and represent Texas in the U.S. Senate. The film draws on intimate access to O'Rourke, his tight-knit family and his team of political newcomers, who champion a new way of getting to know a candidate — one Texas county at a time. As a Democrat in the historically Republican stronghold of Texas, the El Paso native’s journey was unique, as he traveled to all 254 counties in Texas, using social media in unconventional ways to bring his message to the masses and refusing to accept PAC money or corporate contributions along the way. The result was the best-funded grassroots campaign in U.S. Senate history. Running with Beto presents O’Rourke in a way that he has never been seen before. The film gives viewers unprecedented access into the personal and political toll that running for office can take on a candidate and a family, capturing revealing moments with his wife and three young kids throughout the grueling journey. The film offers an inside look at his unorthodox staff and a number of passionate, diverse supporters helping to spread a new message in Texas. Revealing the challenges of the campaign trail, Running with Beto documents Beto’s battles with an onslaught of negative advertising, the inevitable strain on his family, and the pressure of delivering for those he inspires.”

NBC premieres a new season of America’s Got Talent tonight, followed by the premiere of its new singing competition Songland.

Adam Levine’s abrupt exit from NBC’s The Voice has the rumor mill turning. After 16 seasons, Levine announced his departure from the singing competition series Friday. However, the Maroon 5 frontman’s lengthy goodbye announcement comes roughly two weeks after the NBC Upfronts showcase, when it seemed he was all set to appear. So what happened? Levine reportedly wasn’t happy with all the rule changes The Voice was undergoing. Due to a rule change after season 15, each coach didn’t automatically go to the Live Playoffs with the same number of team members, and by the time the semifinals rolled around Levine had zero singers left under his direction. His frustration bubbled over during the taping of these semifinals. Sources told Page Six that Levine was ‘very difficult’ during the taping and offered no feedback to the other judges’ team members. Levine’s discontentment with the show was allegedly further displayed at the NBC Upfronts presentation, where he sang at what a source described as an “emotionless” performance alongside his fellow judges Blake Shelton, Kelly Clarkson, and John Legend. His performance allegedly ruffled feathers with the co-chairman of NBC Entertainment, Paul Telegdy, according to an unnamed source who spoke to Page Six. Refinery29 has reached out to reps for both Levine and NBC.”

Kelsey Grammer says there are six different ideas for a Frasier revival.

Behind the music of Billions.

JWoww and her new BF got cozy in Las Vegas.

James Holzhauer has now earned more than $2,000,000 on Jeopardy!

Click here to see if you can answer the clues that he missed.

MacKenzie Bezos has promised to give at least half of her fortune to charity, just months after finalizing her divorce from the world's richest man. The newly minted billionaire has signed the Giving Pledge, which encourages the world's richest people to dedicate a majority of their wealth to charitable causes, either during their lifetimes or in their wills. The initiative was launched by Warren Buffett and Bill and Melinda Gates in 2010 and has so far attracted the support of 204 individuals and families. MacKenzie Bezos became one of the richest people in the world following her divorce from Amazon founder Jeff Bezos earlier this year. She ranks 22nd on the Bloomberg Billionaires Index. Her personal fortune is now worth an estimated $36.6 billion. Her former husband leads the global rankings with a net worth of roughly $114 billion. MacKenzie Bezos said in a letter announcing the move that ‘I have a disproportionate amount of money to share. My approach to philanthropy will continue to be thoughtful. It will take time and effort and care. But I won't wait. And I will keep at it until the safe is empty,’ she said in the letter, which was dated May 25 and published Tuesday. Warren Buffett's Berkshire Hathaway just made a $900 million bet on Amazon MacKenzie Bezos was one of 19 new Giving Pledge signatories announced on Tuesday.”


From EW: “Given that Killing Eve has already been renewed for a third season, it seems a safe bet on this unpredictable ride that Eve will be back, along with Villanelle. But still, questions hover over Eve’s body. How gravely is she wounded? What was she thinking when she walked away, and what was racing through Villanelle’s mind when she pulled the trigger? What will this bullet do to their twisted relationship? EW rang up Eve’s Eve, Sandra Oh, to take you behind the drama of “You’re Mine.”

First things first: You okay? That looked like a nasty bullet.
I’m fine! I’m fine! We’ll see if Eve was fine — later…. You know what I was thinking when we were doing that? I’m like, “Oh, that great shot in French Connection, when he shoots the French guy.” That’s what I was working with. It’s not so much the shot that in any form was difficult, it was the scene. I mean, it was all the leading up to it. Seven and eight [the last two episodes of season 2] were so emotionally difficult for me, so profoundly difficult.

That scene turns the title on its head and makes one look at the “killing” in the show’s title both as gerund and adjective. Is it now more that Villanelle is killing Eve, or is it that she became killing Eve — an Eve who kills?
I don’t know. It can be both; obviously, she is trying to kill Eve. But also what’s so heartbreaking to Eve is that Eve is also killing. Eve enters into that title — and that discovery of “You wanted me to do it???” is so brutal for Eve. It’s so brutal that she now becomes the killing Eve. The Eve who kills.

Villanelle doesn’t necessarily want her dead or she would’ve shot her multiple times. This felt somewhat like a child acting out when she doesn’t get what she wants — maybe a bit of, “If I can’t have her, no one can.” How did you interpret that action?
Honestly, that interpretation can only be explored in the third season. I totally understand that question, because even as the third season is forming, that is a question. What was Villanelle thinking at that moment? Was she really wanting to kill her? Was she not? We have not yet decided. I will say the blood is coming from a certain area, and I think that we may move that around, the area of the shot. [Laughs.] All that stuff is really being creatively decided right now. What is the meaning of where she shot her? Obviously, it’s somewhere in her back, and in her body, but where it is and how close to the kill. I want to answer this question…  next year. I have an idea, but we haven’t shot it yet.

One also can’t help but draw parallels to the season 1 finale, where Eve impulsively stabbed Villanelle, and now we see that scenario in reverse. In terms of her motivations for shooting Eve, how conscious of that was Villanelle when she fired that gun — and how might Eve see it when she wakes up?
That obviously is a question for Jodie. I think that Emerald [Fennell, head writer for season 2] was always heading toward that point. When the stabbing came about, it was actually quite spontaneous in the writing of it. I do think that it was more formulated with Emerald. If Eve survives [laughs] — it’s tricky because we haven’t shot it — but I would imagine we know each other so much better now it would be like, “Of course you shot me. Of course she tried to kill me.” But honestly, in the beat before the shot happens, there’s something in Eve that I think knows that it could happen, but she’s willing to walk away from that dynamic.

When she’s saying “no,” she is so profoundly saying “no” that if Eve woke up from it, she would say it was worth it. It was worth the risk because she was saying “no” to Villanelle and she was walking away from her. In that way, that demonstrates growth — at least for Eve’s part. When she awakens from this brutal kind of betrayal of Carolyn and then also being completely played by Villanelle, it’s like, “I’m out.” [Laughs.]

This feels like the first hard boundary that Eve has put up with Villanelle.
Correct — and that’s why she gets such a huge reaction from Villanelle. Because who knows how much of a killer shot Villanelle does, right? But she walks away from it. Who knows if anyone ever finds Eve? She could bleed out. She’s walking away not knowing. Villanelle is walking away not knowing the outcome, but obviously being fine about it. Just like Eve is walking away from saying “no” to Villanelle and going to be fine with whatever happens in some way.

Eve finds out in this episode that she’s manipulated by both Carolyn — who seems fine with losing her as collateral damage — and Villanelle. How will she respond to that? Being betrayed or at least played by these two women who are important to her is a huge thing for Eve to process.
Absolutely. She has a strong relationship with Carolyn and obviously a very deep relationship with Villanelle. Eve said this line to Villanelle, “What do you think this is? What do you think is going on? You think we are just going to walk off into the sunset like Bonnie and Clyde?” And by the way, look what happened to them. [Laughs.] It’s almost like Carolyn is saying to Eve, “This is how dark the game is,” and Eve is just saying, “No.” Because she does feel a responsibility that she did bring Villanelle in. She won’t let Carolyn betray Villanelle, because of her loyalty to Villanelle, which is f—ed up and all that, but also I think Eve’s sense of morality. You can’t bring someone in and then set them up for the entire fall. You really see a stark difference between the levels of morality of where Eve draws the line —  actually, Eve draws the line with Carolyn and she also draws the line with Villanelle.

When he was wounded in the hallway, Hugo (Edward Bluemel) said to Eve that he was pretending to play dead. Did Eve possibly take a page from him and she’s doing the same after being shot?
No. The moments after that, I can’t really comment because it would be the next season. Anything after that shot is really for the next season. If I were to guess, right now, no, she’s not playing dead. Either she is dead, or she’s lying there shot. And bleeding to death. [Laughs.]

Unfortunately, this is another forward-looking question: Eve’s killing of Raymond is such a huge crossing of the line. How might this act damage Eve’s psyche? She clearly is in shock and trauma…
I would love to talk to you about that, but that’s such a tricky question because honestly, Suzanne [Heathcote, who will be the head writer in season 3]  and I have been talking about that non-stop: What happens to someone’s psyche? Where do we find Eve? I can’t even honestly talk to you about that because I can’t say whether she’s alive or not. Although if I say I’m going back to shoot [laughs], maybe we’re going to surmise something. “There’s a third season. I don’t know, maybe Sandra’s in it, maybe not?”

Villanelle has lured Eve into deadly territory before. How much agency does Eve have in the heat of the moment, when Villanelle is begging her to kill Raymond? And does Eve need to believe that she was pushed by Villanelle?
I think that you’re hitting it right on the head. I very much struggled with the killing of Raymond. I really, really needed it to hit the point where you can’t see that Eve has any agency in the moment. It’s trying to be that frenetic — it’s basically like: your life or this other person’s life. And what are you going to do at that moment? That survival kicks over.  And if she didn’t have Villanelle — egging her on is not the right word. What’s a better word? —  pleading for her to save the both of them, Eve would never have done that.

She picks up the ax because it’s the only thing she has, but even the way that she says, “Stop it, please stop it,” it’s very, very small. And he’s correct — she’s not going to do it. I will say that a similar thing between the seasons is that there are things that people believe that Eve cannot do, that she can believe that she cannot do, but she actually does. And then it is from that point on, the trauma of what that is. Even though, in an interior way, Villanelle just has so much delight that she gets so much of what she wants. That’s why she’s so kind of girlish and giddy at the end; she got all the things that she wanted. She thinks.

At the end, Villanelle says to Eve, “I thought you were special.” And what’s interesting is that there’s a line in episode 6 where Villanelle lacerates her with the line, “The only thing interesting about you is me.” By that last scene in the finale, though, is Villanelle actually worried that she’s less interesting without Eve and that she needs Eve to go on?
I don’t know. This is probably a better question for Jodie, but in the large picture of it, we have these fantasies and projections on other people. And we want them to be what they’re not. They are both doing that to each other. They really need the person to be who they are — and also to not be who they are. [Laughs.] To not behave in the way that they want them to, but that’s against their nature. It’s against Eve’s nature to really be like Villanelle, to go off on some fantasy. That’s the brutal lesson; Eve kind of wakes up from this thing. It’s like “Oh, this whole time I was really just kind of deluding myself.”

It’s almost more that it could be an immature disappointment. It is a deeply immature disappointment when people don’t behave the way that you want them to behave. And that is, again, the beautiful dynamic between the two. There’s so much vitality and power that Villanelle has — also because in her youth, in her power, she presents that, and those are also the things that I think Eve needs. On the other side, Eve has the maturity to walk away. She has the wisdom to do so. I mean, power takes power over, but when it comes down to it, who is probably more stable? Eve. Even though she gets shot for it.

This gun revelation really snaps Eve out of almost a trance. She’s in shock too, realizing that this woman all but turned her into a killer and perhaps she realizes the impossibility in that moment of this connection. If Eve, who is still in shock, never saw the gun, how long would she seriously consider running away with her? How long would that trauma trance go on?
Oh! I think it could just continue on! After she kills Raymond, she’s so vulnerable, she actually reaches out to Villanelle, like, “help me.” Which Villanelle absolutely takes the moment, zips her out of the costume. It’s such a strange reversal in the moment. It’s almost like Eve is a child and Villanelle comes in as the parental figure, takes off her clothes. “It’s okay, come in to my arms, I will take care of you.”

After the killing of Raymond, you see them going through — they’re amazing, these frickin’ tunnels! — you see them going on and on through these dark tunnels. And then it was just really kind of playing the shock and this kind of sweatiness until Eve actually physically breaks down these planks of wood — oh my God, I could talk to you about that, when we shot that! — to get out. Until she sees the gun she’s in, like, a trauma dream. And it’s almost like these words — dinner… Alaska… —  I feel like I understand what those words are, and it’s only when she sees the gun that certain things are starting to come into view. “How long have you had that gun?” And then she can tell that she’s lying immediately. And then it was like, “Oh my God, I made a terrible mistake.”

How do you think Eve rationalizes working with Villanelle in season 2 up until this moment? She knows what she’s capable of. She even watched her push that woman — who poses no real threat, and isn’t on her hit list — into traffic. And then she watches Villanelle slit Aaron’s throat…
In the realms of the TV-showness of it, I have to salt it really well with that. Because there’s a lot of dramatic license. All I’m trying to do is keep an honest psychological line. For me, it’s about Eve’s ultimately misguided belief that she can control her. And that Eve is special enough to be the one to control Villanelle. That’s what she learns — is that I’m not special. This entire time, she’s like, “ She won’t kill me, I can control her, I can handle her, because I believe we have this special connection. I believe I am special.” And what she realizes is that she’s not. And then when she really realizes that, Villanelle tries to kill her!

Episode 7 left us with a pretty big cliffhanger, where Villanelle has killed Gemma (Emma Pierson) and wounded Nico (Owen McDonnell) in the storage locker, and he might even be framed for Gemma’s murder. Nico had left Eve prior to that, but she brought the chaos and violence of Villanelle into their lives. Is there any coming back from this for them?
What you’re saying is correct. What I like to think about in terms of the Nico and Eve relationship is like that of a marriage. How far can you go and still come back? It’s like someone brings chaos into the house, you stop communicating well. Someone is now thinking that they can find stability outside of the marriage. You don’t really have to go that far to be able to wonder: How can you figure this out in terms of a marriage? That’s what I’m so interested in in the relationship between Eve and Nico. How can you continue being a whole person and remain in partnership?

Can you leave viewers with a one-sentence tease for what happens next on Killing Eve, or a question that viewers should be obsessing over until the show returns next year?
How can you come back when you said “no”? How can you come back when you really know the truth about someone? Honestly, I’m trying to figure out: how does Eve come back to any of her life? I don’t know yet. We’re going to work that out. Or not. If she survives.”


From The Ringer: “‘My vengeance will come like I do: slow, thunderous, and in your eye.’

“This incredible piece of dialogue comes from—who else?—Wags in the sixth episode of Billions’ fourth season, after the elite-of-the-elite Wall Street fraternity Kappa Beta Phi (a real thing, unfortunately) refuses to permit him into its secret society. For Wags, who’s just gone through a hazing ritual that required him to wear a dress and apply his own makeup, the rejection adds to what was already a considerable amount of humiliation. (The instigator for this cruel prank is Mick Nussfaur, the guy Wags had a burial plot feud with last season.) He is less than pleased. Don’t worry, like any good New York state attorney general would, I brought evidence:

“It’s a fun midseason subplot—that, somehow, feels extremely on-brand for Wags—that doesn’t swing the needle for any of Billions’ larger simmering conflicts. But at the same time, it’s the perfect micro moment that doubles down on this season’s mission statement. On Billions, revenge is a dish best served on the biggest possible stage, in front of the widest audience, and it shouldn’t ever deign to be subtle.

“Because Billions is such a dense, rich text—and because the show burns through plotlines quicker than most dramas on television—there’s a cumulative effect to all the political and financial scheming that’s going down in this fourth season. One of its larger ideas, aside from the weird alliance/friendship formed between Axe and Chuck after a three-season dick-swinging contest, is that both men’s former protégés have turned into arch rivals—to varying degrees of success. Through the first 10 episodes, Axe is still waging war with his former financial savant Taylor Mason, as their feud—which obviously distracts both of them from focusing 100 percent on their actual responsibilities as CEOs of two multibillion-dollar hedge funds—burns through more money than a small country’s GDP. Meanwhile, Chuck is helping his father secure what could be a lucrative development project (basically a fictional equivalent of Hudson Yards), all the while avoiding Jock Jeffcoat and his own ex-protégé, Connerty, who’s using the FBI to wiretap their phones and bug their homes in an attempt to gather enough evidence to put the Rhoadeses behind bars for shady business practices. And, of course, Wendy and Chuck’s marriage has yet to recover, and understandably so—Chuck’s public admission that they engage in BDSM would probably be a deal-breaker for most domestic partnerships.

“But what’s most compelling about Taylor and Connerty’s respective pivots is how quickly Billions demonstrates they aren’t—to borrow nomenclature from a political series that featured dragons instead of hedge funds—breaking the wheel. They’re just more of the same. Connerty was once a super-idealistic liberal with an Eagle Scout–esque commitment to doing the right thing. Now he’s eagerly accepted his role as an errand boy for Jock ‘Taller Jeff Sessions’ Jeffcoat, and, at the end of the 10th episode, has enlisted his estranged brother to break into Chuck Sr.’s home to look at some possibly incriminating documents related to the development project. (Connerty’s brother happens to be elite at two things: cracking personal safes, and getting into fights at Irish pubs. This is a very good show.)

“Connerty left Chuck’s nest—well, partly because he was fired while some of Paul Giamatti’s saliva landed on his body, but also because he aspired to be a different type of politician. And say what you will about the idiocy of this plan, but it’s like a lizard-brain version of Chuck’s Ice Juice takedown. The apprentice is becoming just like the master, only his Machiavellian tactics are inherently riskier. I personally wouldn’t advise using my own brother to break into an apartment; then again, I’m not getting sage advice and karate-chopping wood with Dr. Gus. ‘The kamikaze get a bad name, because everyone wants to focus on the suicide,’ Dr. Gus advises. ‘But what they miss out on is the purity of the commitment.’

“Taylor has been much more deft in their post-Axe life, but the evolution has also come at the expense of some ideals. The ethos of Taylor Mason Cap seemed like it’d be about, of course, making money, but doing so through slightly more ethical and morally conscious means. Taylor even had a midseason meeting with Axe, calling for a truce so they could focus on their respective companies and avoid wasting valuable time on each other. Granted, the escalation of the Axe-Taylor feud is mostly about Axe’s ego and unwillingness to get over Taylor’s betrayal, but that toxicity has gone both ways.

“It’s perhaps most telling in the eighth episode—a.k.a. the one where Mafee and Dollar Bill have the most pathetic boxing match ever put to screen—as Taylor and Axe are embroiled in a fracking-related fracas. Axe wants New York’s governor to reverse the fracking ban after betting big on the energy sector, figuring Taylor’s ideals would have them championing the anti-fracking cause. What he didn’t anticipate was Taylor quietly buying the rights to the water where fracking can take place—it’s a lot of financial mumbo-jumbo, but basically Taylor tricks Axe into betting big on fracking, and comes out an even bigger winner when the ban is overturned. Two seasons ago, Taylor was a burgeoning intern with integrity and empathy. Now, after profiting off fracking and doing business with a shady Russian oligarch, the distinction between mentor and protégé is perilously thin.

“But that’s exactly why, the entertaining sight of Wags humiliated in a dress aside, this feels like Billions’ bleakest season. In the show’s universe, there have been serious issues this season—fracking, voting rights, minority rights—used as bargaining chips, revenge ploys, and playthings not just by people like Axe and Chuck and their enemies (which is to be expected), but by the former apprentices who aspired to be better people than their old mentors. Instead, they’ve sought their own type of [clears throat] slow and thunderous vengeance; one which, particularly for Connerty, seems to be ill-fated and possibly career-ending. There is no such thing as breaking the wheel on Billions: You either become one of its spokes, or you remain subject to the whims of those perpetually spinning it.”


Per Deadline, “Hulu has given an eight-episode series order to a horror anthology series based on North American Lake Monsters: Stories, a collection of short stories by Nathan Ballingrud, from Preacher writer-producer Mary Laws, Under the Shadow and Wounds filmmakers Babak Anvari and Lucan Toh, and Annapurna Television.

“Created by, written and executive produced by Laws, The Untitled Mary Laws Project(working title) is a contemporary horror anthology in which, through encounters with Gothic beasts, including fallen angels and werewolves, broken people are driven to desperate acts in an attempt to repair their lives, ultimately showing there is a thin line between man and beast.

“Toh and Anvari executive produce with Laws. Anvari also is set to direct. Annapurna Television produces for Hulu.

North American Lake Monsters: Stories,released in 2013 by Small Beer Press, was Ballingrud’s first published book. His second, novella The Visible Filth, was adapted byAnvari and Toh into their 2019 movie Wounds, which is distributed by Annapurna Pictures.

“Anvari and Toh came to prominence with the 2016 internationally co-produced Persian-language horror film Under the Shadow, written and directed by Iranian-born Anvari in his directorial debut and produced by Toh. The movie premiered at the 2016 Sundance Film Festival. It was acquired by Netflix and also was selected as the British Oscar entry for Best Foreign Language Film.

“Anvari and Toh’s followup horror film, Wounds, also written and directed by Anvari and produced by Toh, premiered at this year’s Sundance Film Festival. It stars Armie Hammer and Dakota Johnson.

“Anvari and Toh and their Two & Two Pictures recently signed a first-look deal with AMC for television projects. Anvari also is developing projects with Black Bear and Film4.

“Laws wrote on the first three seasons of AMC’s Preacher and co-wrote the screenplay for Nicolas Winding Refn’s The Neon Demon. She’s also known for her plays Bird Fire Fly, Blueberry Toast(Yale School of Drama) and Wonderful , among others.

The Untitled Mary Laws Project joins Hulu’s existing horror series, J.J. Abrams and Stephen King’s Castle Rock and Jason Blum’s anthology Into the Dark.

“Annapurna TV has HBO miniseries The Plot Against America, Netflix series Mixtapeand Amazon comedy pilot Half-Empty starring Cazzie David.”


From The Hollywood Reporter: “Once the bread and butter of up-and-coming DJs and daytime talking heads, the role of TV emcee is becoming the domain of A-listers.

“Marquee comedy stars Melissa McCarthy and Tiffany Haddish have both signed on to host Big Four unscripted projects, the former replacing Steve Harvey on NBC's onetime smash Little Big Shots and the latter fronting a Kids Say the Darndest Things reboot, which ABC has fast-tracked for a fall premiere.

“The pair join the likes of movie stars/emcees Alec Baldwin (ABC's Match Game), Jamie Foxx (Fox's Beat Shazam), Dwayne Johnson (NBC's Titan Games) and, as of June 12, Elizabeth Banks (ABC's Press Your Luck).

“For these types of gigs, talent of this caliber can fetch as much as $450,000 an episode.

"‘It used to be just sticking the right talking head in,’ says NBC Entertainment Alternative and Reality Group president Meredith Ahr. ‘But now you have to focus on finding somebody the viewer really wants to share that hour with every single week.’

“Haddish had been shopping her own spin on Darndest Things — most recently a 1990s Bill Cosby vehicle — and sources say multiple networks bid on her reboot, while NBC, keen to keep Little Big Shots alive without Harvey (persona non grata at NBCUniversal after moving production of his now-canceled talk show to IMG), approached McCarthy who, to the surprise of some, bit.

“McCarthy is said to have come up with her own take on the format, one she'll reveal in the coming weeks during an appearance on Ellen DeGeneres' talk show. (In addition to producing Little Big Shots, DeGeneres also hosts and produces Ellen's Game of Games on NBC.)

“Since talent fees remain reasonable, especially on the lower-cost (i.e., non-American Idol or The Voice) game and variety shows, scheduling is typically the biggest obstacle in getting A-listers attached.

“Howard Stern brought a ratings spike when he kicked off a four-season stint on NBC's labor-intensive American's Got Talent, but years later, a game show offer has him balking. ‘You've got to learn to say no to these things," he recently told THR. "When I'm there for 27 hours on a Thursday, after a full week on the radio, I'm miserable.’”