Tuesday July 23, 2019

MTV has ordered a 2nd season of The Hills: New Beginnings.

In the meantime, JB needs to man up.

HBO premieres Who Killed Garrett Phillips? tonight. “On Oct. 24, 2011, 12-year-old Garrett Phillips was murdered in his home in Potsdam, a small town in upstate New York. Police quickly zeroed in on a suspect in this unthinkable crime: Oral “Nick” Hillary, a black man in the mostly white community, who was a soccer coach at Clarkson University and the ex-boyfriend of Garrett’s mother, Tandy Cyrus. From two-time Academy Award-nominee and Emmy-winner Liz Garbus (HBO’s A Dangerous Son and Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper), the absorbing two-part documentary Who Killed Garrett Phillips? looks at the case from the initial investigation through the arrest and numerous legal twists and turns that culminated in Hillary’s trial for murder five years after the crime. The two-part documentary raises troubling questions of racial bias and issues surrounding policing and the criminal justice system.”

Imagine Entertainment's latest venture is in the management space. Ron Howard and Brian Grazer's sprawling company has launched Imagine Artist Management, an independent division that will help support directors, producers, actors, writers and comedians. Jax Media's Tony Hernandez will lead the newly launched management company as CEO. Hernandez's company (producers of Russian Doll, Younger) was acquired by Imagine Entertainment in 2018. He will continue to serve as partner while concurrently overseeing the management venture.”

“Longtime pals John Heilemann — co-host of Showtime’s The Circus — and tech entrepreneur and Wired co-founder John Battelle are re-uniting in introducing a new political media platform. The pair, who first met at Wired in the early 90’s, sent an email to a small group of pals Monday night, sharing the soft launch of The Recount — which they describe as ‘a unique video mashup of each day’s reporting and commentary from across the broadcast, cable, and social platforms.’ They wrote: ‘If you’re game to join our private beta email list, every evening you’ll receive a short video or two in your inbox, from The Daily Recount to new types of programming we have in the pipeline.’

Netflix has released a trailer for Diagnosis, a reality series based on Dr. Lisa Sanders. It looks fascinating. “Based on Dr. Lisa Sanders’ popular column in The New York Times Magazine, Diagnosis follows various patients on their respective journeys toward finding a diagnosis, and potentially a cure, for their mysterious illnesses. By combining the power of global crowdsourcing, social media, and established medical expertise, each case is untangled with illuminating new insights that had previously eluded doctors. From award-winning executive producers Scott Rudin, Simon Chinn and Jonathan Chinn, and in association with The New York Times, Diagnosis explores the life-changing impact of receiving a diagnosis for individuals who’ve been searching for answers, and the healing that comes with connecting with others who can empathize with their experiences. Only on Netflix August 16.”

The numbers for Love Island have been unerringly stable, which would be a good thing if they weren’t stagnating at an average of 0.51 in the key 18-49 demographic across nine episodes. Viewership has been just as poor, with roughly 2.3 million tuning in to each episode, far fewer than the network would likely have been hoping for. To better put the show’s ratings woes into context, it has lost on consecutive Thursdays to another unscripted newcomer Holey Moley on ABC, and Masterchef on Fox. Things certainly didn’t get off to an ideal start for Love Island, as the reality show’s debut was pitted against the 2019 MLB All Star Game and a resurgent America’s Got Talent on NBC. Its underwhelming 0.57 rating was dwarfed by the former’s 1.7 and the latter’s 1.4, and the premiere was also beaten in total viewership by a re-run of The Conners in ABC. Since then, the show dipped to a low of 0.36 on July 12, before recovering to a 0.50 rating, which it has put up for five consecutive episodes.”

The aforementioned notwithstanding, Love Island > Paradise Hotel > Bachelor In Paradise > Temptation Island > Relationshipped > The Bachelorette.

Quibi has announced that a new comedy series titled Skinny Dip is in development. Based on Carl Hiaasen’s satirical novel of the same name, the series will follow a jilted woman who, after being thrown into the ocean by her husband, teams up with the retired cop that rescued her in order to gaslight her husband. Russel Friend and Garrett Lerner are set to write with Peter Traugott , Rachel Kaplan, Alon Shtruzman, Avi Nir, Russel Friend, and Garrett Lerner attached as executive producers. Keshet Studios will produce.”

Bella Thorne has revealed that she’s pansexual. She was on Howard Stern this morning and is, let’s say, eccentric.

Sean Hayes has been named Roast Master for The Comedy Central Roast of Alec Baldwin, which will air on Sunday, September 15.


From Deadline: “Kenya Barris and Scott Mescudi, better known by his stage name Kid Cudi, have teamed up for Entergalactic, an adult animated music series for Netflix based on the upcoming album of the same name by rapper, singer and actor Kid Cudi.

“This is the the third series to come out of the big overall deal Barris’ production company Khalabo Ink Society has at Netflix.

“Mescudi, who played one of the leads on HBO’s How To Make It In America, will write, star, and executive produce the series. How To Make It In America creator Ian Edelman will co-write with Mescudi and will also executive produce. Barris executive produces.

“The show  will showcase music from Kid Cudi’s album, which follows a young man on his journey to discover love.

“At Netflix, Entergalactic joins Black Excellence, Barris’ upcoming single-camera comedy series, which he headlines with Rashida Jones, and a sketch-comedy series starring the New York-based improv troupe Astronomy Club.

“Additionally, it joins another music-driven animated project from Barris — he writing and producing an animated film based on the song catalogue of Bob Marley.

Black-ish creator Barris also has spinoff series grown-ish on Freeform and the upcoming mixed-ish on ABC, as well as multi-camera comedy Unrelated in development at Freeform and a Bewitched remake in the works at ABC.

“On the feature side, Girls Trip co-writer Barris has produced two releases this year — Little and Shaft. He also is behind the sequel to 1988 comedy Coming to America. Barris is repped by Artists First and Morris Yorn.

“Kid Cudi, who also has appeared onscreen in HBO’s Westworld and the feature film James White, has been a multi-platinum recording artist for more than a decade. The Grammy winner has collaborated with the likes of Kanye West and Travi$ Scott. He was recently cast in the movie Bill & Ted Face the Music and the HBO series from Luca Guadagnino.”


From Uproxx: “The seventh season of Orange Is The New Black is about endings, but it’s also about new beginnings. Most importantly, it’s about exactly how difficult (and sometimes impossible) those beginnings will be for this ragtag group of female inmates, many of whom we’ve followed for the entire journey. Sure, several of them have left with new arrivals to fill those gaps, and there was a significant culling after the riot that sent some to other maximum-security facilities, but there’s a core group — Nicky Nichols (Natasha Lyonne), Dayanara Diaz (Dascha Polanco), Taystee (Danielle Brooks), Lorna Morello (Yael Stone), Alex (Laura Prepon), and Red (Kate Mulgrew) among them — remaining. Oh, and the episodes continue to check in on Piper Chapman (Taylor Schilling), who’s still not a fan favorite and left Litchfield last season for what many presumed would be a return to her formerly privileged life.

“More on Piper soon, but it’s worth marveling at how this series, which was one of Netflix’s earliest streaming sensations in 2013, managed to persist this entire time. The service has developed a habit of canceling beloved TV shows after only three rounds, and it’s a different streaming world out there now with so much competition for eyeballs. Yet we’re fortunate to have seen the ladies of Litchfield through their extended and often devastating arcs.

“At this point, I’d love to dig into what this Orange season brings to the table that differs from previous seasons. However, Netflix has issued an enormous list of plot points that must not be mentioned. So, in order to honor those requests, I’m forced to be super vague, but if you’re fond of the show, must-see conclusions surface for several characters. Be warned, though, that the dramatic tone veers much further into drama, rather than comedy, this time around, yet there’s still some levity to be found. In addition, relationship drama explodes everywhere, and there’s loads of heart and plenty of heartbreak. A key theme tracks how it’s rarely possible for ex-cons to find a bright future outside the institutions that were meant to, at least in a partial sense, rehabilitate and encourage them to one day become contributing members of society. That brings us back to Piper.

“She’s having an unexpectedly difficult time, and that’s a tricky story arc worth discussing for a few reasons. Piper’s learning that being on probation is, in some ways, more difficult than being inside of prison, where one really doesn’t have to worry about making a living, while maneuvering around guidelines that seem counterproductive. She’s also paying outrageous fees (drug-testing and otherwise) in order to avoid reentering custody, and she’s trying to maintain her ‘prison marriage’ with Alex. It’s rough, and yet her brand of struggles define her privilege. Piper’s still got family and connections to fall back upon, and her relatively tame plight won’t win her any new supporters, since most of the other characters who leave (or don’t leave) Litchfield have it worse. That includes a deep dive into the immigration issue, including fallout from that Season 6 finale punch-in-the-chest when Blanca Flores (Laura Gomez) departed prison, only to be taken into ICE custody. Orange tackles this subject with more finesse than expected, and Gomez delivers a fine dramatic performance.

“Devoted viewers already know that two major characters (Daya and Taystee) discovered in recent seasons that they’re likely incarcerated for life, and their respective situations get a lot of air time. Their paths are vastly different but both ultimately lean toward survival in sad ways. With all of that said, the series hasn’t fallen back into that weird, mid-series lull that only ended with Poussey Washington’s (Samira Wiley) death, which was followed by the riot and the subsequent fallout. That action’s still burning at a high level and doesn’t let up until right before the series finale. Every major character receives an eventful ending, although let’s get real, one really can’t hope for many happy endings.

“For consistent Orange viewers, this season’s worth moving to the top of the queue, even though there are so many other Netflix series to demand attention these days. There are sad, infuriating moments, and there are comical, life-affirming events, along with noteworthy returns from old faces. Damn, it’s good to see Laverne Cox pop back into a few spectacular scenes as Sophia, and Jason Biggs’ Larry shows his face a few times and doesn’t even make me want to punch his smug mug. Strange! Also, the love-to-hate-her Natalie ‘Fig’ Figeroa (Alysia Reiner) turns surprisingly human, which puts me in an odd place. I’m a Fig fan now, for real? Yes. She might even be the most enjoyable part of the season that I can mention without getting kicked in the streaming ovaries by Netflix. Overall, Orange leaves with a fitting farewell and ensures that we’re not left on the hook with any of these beloved (and hated) characters. Their stories will still continue, for better or worse, without us.

“The final season of Netflix’s Orange Is The New Black begins streaming on July 26.”


Per The Hollywood Reporter, “[c]ontinuing Euphoria's trend of breakout episodes and deep dives into one character's past each week, Sunday night's episode six was Algee Smith's moment in the spotlight. Smith stars on HBO's boundary-pushing drama as Chris McKay, the lone college student in the group who is struggling with his identity as a former football star. 

“The episode explores McKay's complex relationship with his strict father, who is always pushing him to be the best on the field, and the fears about his future when he realizes he may not be good enough to make it to the NFL. His relationship with girlfriend Cassie (played by Sydney Sweeney) is also a big part of his storyline, as he keeps her at arm's length and gets embarrassed over how she dresses and acts. In a particularly brutal scene this week, McKay is getting intimate with Cassie when multiple masked men break down his door and assault him, seemingly as part of a hazing ritual. He breaks down in the bathroom after the incident, but publicly acts like everything is fine, even as he and Cassie get increasingly distant. The episode ends with Cassie realizing she may be pregnant. 

“Smith, who recently appeared in The Hate U Give, spoke to The Hollywood Reporter about that hazing scene, McKay's emotional issues and working with an intimacy coordinator on set:

We learn a lot about McKay's relationship with his father in this episode — how did that intense upbringing affect who he is now?

We see from the beginning of the episode, as soon as we come in, how it is between him and his father. Even when he's practicing really hard and he's like, "Okay, now you're ready to practice for real with the team," you see immediately the hard work inside of him. I think his father's opinion really just affects his everyday thought process, and when he feels he's not making it in college, that really hurts him to break it to his father. That relationship is very critical to him and his confidence. 

Throughout this episode, McKay is panicking about his future and doubting he will be able to go pro. Beyond football, what's the deeper fear there?

I think it's really rooted in football, to be honest; that's where he finds his confidence. The deeper we go, we start talking about the father again because that's just the dynamic right now; it's football and it's also trying to please his father with football. I think outside of that, it may be Cassie and everything he has to do with that, but I think the main thing he's focused on is, "I'm not making it in my dream, and my father is counting on me making it and I've got to break it to him." 

With he and Cassie, we see a lot of up and downs in their relationship, with a constant theme of him caring what his friends think of her and how she dresses and acts. Why does he care so much what others think of her?

He knows her situation; she's just out there, she's a very out-there girl. He knows that, so when he's dating her he knows he's going to get shit and his friends are going to talk shit because they know the type of girl she is as well, so that's where his insecurity comes in. He really likes this girl, but at the same time he knows her history and that bothers him. 

McKay has an intense hazing scene in this episode, and there's been some confusion online about what exactly is happening to him. What's going on in that scene? 

In that scene, he was getting hazed by the frat or whatever, and his drunk frat brothers came in and were fake humping him. It looks really graphic in the scene the way they edited and chopped it up, which is scary as hell, but they're play-humping and whatever and calling him "McGay." The way they made it look was very scary; I was surprised by the editing. 

What was it like to shoot that scene?

It was really cold in there, because I was naked for real. Outside of being very cold, it was very dark. The way Pippa [Bianco, the episode's helmer] directed it, it was a private set and when they came in the room it was very intense. It lasted for a long time and was somber on set.

After that, we see him alone in the bathroom and breaking down in the mirror. Where is McKay emotionally in that scene?

At the beginning of the episode, we see his father tell him to take his emotions and bottle them in, and when you get to the [football] line, that's when you let it snap. He tells him to not let it show, that the measure of a man is defined by how much he can take; that's one of the lines his father gives him. So when he's in the mirror, he's going back to that moment and hearing what his father said; he's taking all of that that just happened and he's bottling it up. You can see that once he bottles it up, he comes back with a calmer, or numb, state of mind. 

Why doesn't he open up to Cassie in that moment?

I don't think he wants her to know his full emotional state. I think he's comfortable knowing that she likes him and maybe will grow to love him, but he doesn't want to let her in and be open yet. I think he just loves the idea of having her, not being fully vulnerable with her. That's a lot to share, whatever he's going through, and he doesn't know how to talk about it because he's never talked about it or communicated because he just bottles everything up. All the times he does want to talk to her, I think he just doesn't know how. 

Do you think he has any suspicion Cassie is cheating on him with these other guys?

I definitely think he has suspicions, even though he doesn't have anything to prove it. He knows what kind of girl she is and he's trying to just blind it right now with "love." 

Your character is the only one in college, with the rest still in high school. How do you think that impacts the story?

It impacts the story more than the way I play it. Even though he's in college, he's fresh out of high school so his mindset hasn't changed a lot. It's more so responsibility. For the story, I think it's very important because you're not just relating to high school anymore, you're relating to college. And even though the show does feel very college, you're on both sides now so you can go to both markets. 

We had a pregnancy scare tease at the end of this episode. What can you say about what's next for Cassie and McKay?

They do really well with the teases, that's all I can say. They'll continue to be tested and we'll figure out if he really likes her for the long run. We'll see those feelings come out and what they have to go through. 

You have some pretty intense sex scenes on the show. The cast had an intimacy coordinator on set. How did that help you with shooting those?

That was very beneficial. That was the first time I've had an intimacy coordinator on the set. Before we even got on set, she would come to our trailers and talk to us about everything we had to do and made sure we felt very comfortable. When we got on set, she wouldn't keep letting them do takes for no reason. When we did about three takes she was like, "Okay, my actors have done enough, they're good now." She really kept an eye on us and kept us protected, not in the sense that anyone else didn't want to protect us, but it was her job to overprotect and make sure that we were super comfortable being in the position we were in.

Beyond the sex and drugs aspect of the show, what do you want people to take away from Euphoria?

I hope it continues to be relatable. I think that's the thing right now — if it's bullcrap people are quick to call it, and if it's relatable, as you can see, they're quick to latch on and continue to watch it. So more than anything my hope is for it to be super relatable, for people to have empathy and understand and be able to come out and talk about a lot of the things that are going on on the show. I've seen a lot of conversations on social media, on Twitter especially, about people just talking about these things that they deal with that are relatable on the show, and you'd be surprised, it's a lot of people. It's really good it's opening up the dialogue, and I think that's the important thing.”


From Vulture: “After recently chatting with a group of late-night writers at New York’s 92Y, we went to Los Angeles to talk with West Coast writers at NeueHouse. The panel included Jessie Gaskell (Conan), Jenny Yang (Busy Tonight), Danny Ricker (Jimmy Kimmel Live), Jocelyn Richard (I Love You, America With Sarah Silverman), and Matt Gunn (Real Time With Bill Maher). They talked about why 90 percent of what they do will never be seen by the public, how they learned to tailor their writing to fit a specific late-night host’s voice, and nonsensical ratings wars in the age of YouTube:

On taking chances
Danny Ricker: If it comes from a place of, This might be a crazy idea, but I think it could work, Jimmy appreciates that. The first-ever Lie Witness News we did, it was like, Let’s ask people what they thought of the First Lady debate between Michelle Obama and Ann Romney last night. Jimmy’s note was, ‘There’s no way this will work, but let’s try it.’ Then it did, and it became a signature bit for us. The writers do feel comfortable because we throw it in and if he doesn’t like it, he kills it, and it’s fine. It’s not this big thing. I imagine for you guys at Conan, though, it’s the fact that you’re producing stuff; it feels like probably way more of a swing. If it doesn’t
work …

Jessie Gaskell: … I’m the only one to blame. Yeah, it would be nice sometimes to have a little more cover, just a few more people to throw under the bus. But no, when it goes well, it’s really rewarding because you feel like,I handled that from soup to nuts. Then there’s also so many places where you could make one tiny mistake and that can mean the end of it. It’s such a volume business that you do have to just not feel too attached to anything and nothing is too personal. You hope that if something humiliating happened, hopefully people have at least forgotten about it the next day.

Danny Ricker: The most freeing thing is there’s just another one tomorrow. You can’t be too big of an asshole if your bit goes great. Because it’s like, I feel like a day later people are like, ‘He’s still talking about that bit from last night.’

Jessie Gaskell: I feel like the success feeling is very fleeting and the failure feeling lasts for a long time.

Danny Ricker: Yes, I think that’s internal. It’s not like everyone else is like, ‘Boy, that was really terrible,’ but just because we’re crazy.

Jenny Yang: I don’t perceive Matt to have any confidence issues.

Matt Gunn: I don’t have a lot of confidence. It’s just that all my stuff is amazing.

On writing about Trump and other political issues
Danny Ricker: It’s easy to grab at the low-hanging fruit of like, Did you see what he tweeted? and See what he said? We are the more classic variety show, and we do feel an obligation to have fun. The toilet paper on a shoe going into Air Force One — it’s like, the guy who everyone knows is bad, look how bad he is. We’ve got to show some of that. However, I think there are also a lot of great candidates. The oxygen is getting completely gone by the time it’s time for them to talk about stuff.

Matt Gunn: It goes without saying that Trump is the best writer we’ve ever had. The setups are the punchlines with Trump. I never thought we’d get a gift from the comedy gods, as much of an ass as George W. Bush. Then Trump just obliterates that. Now I think there’s definitely, for all of us, some fatigue that’s setting in. He came on the scene in like 2011 with birtherism, and now it’s almost a decade of just dealing with this guy and it becomes so hard. I can’t even help myself, but ‘cocked and loaded.’ One of our writers looked it up, and it’s a gay porn film, of course. The joke he did, it didn’t get on the air: ‘I think Bob Woodward has the title for his next White House biography because that’s just perfect.’ Anytime there’s a Trump joke, I try to put it to the test of, Do I have to? Is there something more interesting? Because I think people are getting tired of it, too. Trump’s ratings are down.

Jenny Yang: Well, the solution of Busy Tonight was very early on, we decided not to try to even name him, because there’s plenty of other people like you all who can handle it. It’s on E! E–exclamation point. Our focus was weird internet ephemera but mostly pop culture. If there was an entry point that was interesting and it can go satirical or political, then let’s try it. She would editorialize about tougher issues. [Busy Phillips’s personal monologue about abortion] was a little bit right breaking out of making sure that there needed to be a joke every other few seconds.

Danny Ricker: Jimmy got a lot of attention for the health-care stuff, and I think Busy really got a lot of attention for the bravery of that, too. Everyone can shout at the headlines, but going, There is a human side to this that is not on Twitter, that is not on CNN, but it does affect people? That’s a great way you can actually get a message out.

On writing in the host’s voice
Danny Ricker: The great thing about late night is you have instant gratification pretty much. You do a joke that morning, sometimes it’s on that night, and you got to have a closer’s memory. If you blew the game, forget about it and get back to work. I find it pretty satisfying. The other great thing about it is it’s a little cowardly, but there’s some stuff that I wouldn’t want to say in front of a crowd because I don’t want to face the blowback. I work for about the best guy on television for that because he doesn’t care.

Matt Gunn: I’m lucky too. I should say, I agree with him most of the time.
I remember right around the time I interviewed to be Bill’s writer’s assistant, I interviewed to be Dennis Miller’s writing assistant. I sometimes think of that because I would’ve quit. Dennis Miller, I find him horrific, and so
I couldn’t have been able to do it. Luckily, I found the right person to write for.

Jocelyn Richard: I personally feel very comfortable chameleoning myself to fit a host’s voice. I’ve written for a lot of different hosts over the years, male and female and RuPaul, which is a little bit of both. For me, it’s a little bit of a puzzle because you’re trying to figure out, How do I say this thing I want to say, but from the perspective of, in Conan’s case, a middle-aged white guy? Then I have to rediscover my own voice, and I’m like, Wait, who am I? 
I don’t know what my point of view is anymore. I’ve gotten too good at slipping into someone else’s voice.

Danny Ricker: We had an interesting experience in the last couple of years as we’ve done a handful of guest-host shows. Jimmy was out when his son was born and the medical stuff was going on. Obviously, we had nothing to do with that. He came back, and we had already lined up guest-host shows because he was just going to take two weeks of paternity leave, and then they were surprised by all of this. He goes, “I want to come back, host the first one just so I can tell everyone what’s going on.” We asked him, “Do you need anything from us?” He’s like, “I got it.” He sat in his office all day, and he just went out and did it. As if we didn’t respect him already, but that was a not-easy thing to do. He became part of the news cycle and got involved in it. It was an amazing moment for us, too, because we all knew what was happening, but not in that way that he phrased it. I know that they met lots of parents who were in all these situations, and they wanted to do something to help, and they still do that to this day. It blew my mind. He was in The Man Show. You know what I mean? I was like, Man Show, that monologue, amazing. What a transformation.

On what the term ‘late night’ means now
Jenny Yang: Remember the news stories about women who are marrying ghosts? We got a lot of mileage out of that. Some of it was jokes about ghost fucking. Maybe that’s what makes it late night? Some of the conversations around what made Busy Tonight a late-night versus a daytime show was very gendered. Busy has an edge already, but she also is a woman. For whatever reason, the ideas around being a woman or a mother are always “‘relegated’ to the daytime category. I want the business model to completely change and to take down the patriarchy. Which is the bottom line of what Busy did, if you look at a bit like Bra Buddies — she brought the staff to a bra shop to have a bra fitting and cheer each other on. We got so much feedback from women saying, ‘I cried watching this because you are so affirming. You showed different colored and different shaped bodies.’

Matt Gunn: Everybody has our job now. People have gotten increasingly interested in politics, and everybody has got to take on everything, and it’s instant. One thing I like about the format of our show is it’s really old school. It’s live, the way television used to be when people had some longer attention spans. We’re part news and part comedy, and hopefully the comedy makes the news easier to take. Now people grow up on YouTube, so everything’s those bite-size bits. I’m finding myself increasingly attracted to long-form stuff, where you have to stick around and really penetrate.

Danny Ricker: It’s this double-edged sword. YouTube has greatly increased the spread of our shows. You look at the live TV numbers versus a bit from your show that did well on YouTube, and you go, Wow, 10 million people saw that. Ten million people are not watching TV at 11:30 at night anymore. The business hasn’t totally caught up. The ratings wars, that’s this big topic. It’s nonsensical that we’re still talking about ratings in that way. If someone told you, ‘Every night at 11:35, I sit in front of my TV and watch a show live,’ you would think that person was mentally ill. “'You don’t DVR it?’ ‘No, I like the commercials. I like the commercials.’ If people ask me where I work and I say Jimmy Kimmel Live, the No. 1 thing they say is, ‘I watch it on YouTube.’

Jessie Gaskell: That was a big reason for Conan going to half an hour — most people were experiencing the show on their phones and watching clips. Initially, the conceit was, Well, it’s half an hour for TV, but we might tape extra stuff that was only going to go online. That’s going to get just as many, if not more, eyeballs. TV has been displaced by Netflix and other streaming services, which are now actually just becoming TV. It’s all cycling around again. My theory is just in ten years, we’re going to ingest our comedy through crackers. The delicious Triscuit will deliver your daily comedy dosage.”