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      Jules Bass, Co-Producer of TV Holiday Staples, Is Dead at 87

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      The animation company he ran with Arthur Rankin Jr. gave the world “Rudolph the Red-Nosed Reindeer,” “Frosty the Snowman” and much more.Jules Bass, who created an animation empire with his business partner, Arthur Rankin Jr., that produced perennial Christmastime television favorites like “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman,” died on Tuesday in Rye, N.Y. He was 87.His death, at an assisted living facility, was confirmed by Jennifer Ruff, whose mother was Mr. Bass’s first wife.The Rankin/Bass studio was a major force in animated programming, mostly on television, from the early 1960s to the late ’80s. Some of its TV shows and movies used traditional hand-drawn cel animation, but it carved out a separate specialty in the stop-motion puppet animation familiar to viewers since “Gumby” in the 1950s.Rankin/Bass’s stop-motion specials included “Rudolph” (1964), featuring the voice of the folk singer Burl Ives as Sam the Snowman;“Santa Claus Is Comin’ to Town” (1970), with Fred Astaire as the narrator and Mickey Rooney as the voice of Kris Kringle; and “Jack Frost” (1979), with Robert Morse voicing the title role.“Frosty” (1969), narrated by Jimmy Durante, used traditional animation.To create the stop-motion effect, animators in Japan painstakingly shot thousands of pictures of the tiniest movements and gestures of inches-tall puppets. When run at 24 frames a second, the images generated a whimsical sort of herky-jerky animation that became the Rankin/Bass signature.“When I saw their cartoons, they left a great impression on me because they had dimensionality versus drawn animation,” said Tom Gasek, a professor in the school of film and animation at the Rochester Institute of Technology who was inspired by Rankin/Bass’s work to become a stop-motion animator. “They were not high quality by any means, but they were charming and their designs were very smart.”Mr. Bass and Mr. Rankin were often credited as the directors of their work and offered input on scripts and storyboards. But they played different roles at the company, said Rick Goldschmidt, the studio’s official historian.Mr. Bass composed much of the music. He hired and worked closely with the musical supervisor, Maury Laws, and ran the company’s business in Manhattan while Mr. Rankin was in Japan supervising the animation.“Where Jules is really the star of Rankin/Bass is as a songwriter and his partnership with Maury,” Mr. Goldschmidt said in a phone interview.Mr. Rankin, who was the studio’s chief executive, also sold the shows to TV networks and made sure they were delivered on time.“After a while, we were never seen together — I’d be doing production in Tokyo and he’d be recording a soundtrack in New York,” Mr. Rankin said in an interview in 2003 with the Museum of Television and Radio, now the Paley Center for Media. “If we were together, one of us wasn’t necessary.”Mr. Bass was rarely quoted publicly, and little is known about his private life. But the two partners spoke during a joint interview with The New York Times in 1982 when their animated theatrical feature, “The Last Unicorn,” was released.When they were asked who did most of the directing — the movie credits both of them — they initially said they did it together.“Anything he can do, I can do better,” Mr. Rankin said.Mr. Bass countered: “He never worked a day on the film. I did everything.”Peter S. Beagle, who wrote the screenplay for “The Last Unicorn” and the novel it was based on, recalled in a phone interview that his dealings with Mr. Bass “were very professional.” But, he added, “he was very private, and I never had a true sense of what was going on deepest in his head.”He added, “I’m grateful that the film came out pretty much as I wrote it.”Arthur Rankin Jr., left, and Mr. Bass in 1965. Both men were credited as producers and directors of their TV specials, but Mr. Bass was more involved with the music and Mr. Rankin with the animation.Miser Bros. Press/Rick Goldschmidt ArchivesJulius Bass was born in Philadelphia on Sept. 16, 1935. His father, Max, was a wholesale beer salesman, and his mother, Bernice (Palat) Bass, was a homemaker.He attended New York University, where he studied marketing from 1952 to 1954, but he did not graduate. He was hired by Gardner Advertising in Manhattan, where he met Mr. Rankin, who was making TV commercials under the banner of his company, Videocraft International.Mr. Bass joined Videocraft in the mid-1950s, and the two men produced commercials, occasionally using animation, for agencies that represented clients including General Electric and the A.&P. supermarket chain. They wearied of commercial production and shifted to animation in 1960 with a TV series, “The New Adventures of Pinocchio,” which used the stop-motion technique Mr. Bass had discovered in Japan.The company eventually changed its name to Rankin/Bass, and its work toggled between stop-motion and traditional cel animation.Although Rankin/Bass was best known for its Christmas programs, it also made TV movies like “The Ballad of Smokey the Bear” (1966), which was narrated by James Cagney,; “Here Comes Peter Cottontail” (1971); and “The Hobbit” (1977), which earned a Peabody Award. They also produced animated TV series like “King Kong” (1966), “The Reluctant Dragon & Mr. Toad Show” (1970), the “Jackson 5ive” (1971),“TigerSharks” (1985) and “Thundercats” (1987).Mr. Bass and Mr. Rankin ended their partnership in the late 1980s after their company was acquired by Lorimar-Telepictures, which was subsequently bought by Warner Communications, which is now Warner Bros. Discovery. Mr. Rankin died in 2014.Mr. Bass later wrote three children’s books. “Herb the Vegetarian Dragon” and “Cooking With Herb the Vegetarian Dragon,” illustrated by Debbie Harter, were both published in 1999. “The Mythomaniacs” (2013), with illustrations by Lawrence Christmas, is about a teenage magician who sends a group of readers of his father’s fairy tales into the books as characters.He also wrote an adult novel, “Headhunters” (2001), about four women from New Jersey who go to Monte Carlo and pretend to be among the world’s wealthiest women. It was adapted into a 2011 film, “Monte Carlo,” starring Selena Gomez.Mr. Bass leaves no immediate survivors. His daughter, Jean Nicole Bass, died this year. His marriages to Renee Fisherman and Sylvia Bass ended in divorce.The power of two of Rankin/Bass’s best-known productions has reverberated for decades since they were released: Both “Rudolph” and “Frosty” remain highly rated cornerstones of CBS’s pre-Christmas programming.In 2014, CBS promoted “Rudolph” on its 50th anniversary with ads that used stop motion to show the renowned reindeer and Sam the Snowman walking around the network’s backlot, meeting the stars of some of its other shows, including Mayim Bialik of “The Big Bang Theory” and Michael Weatherly of “NCIS.”“They’re the fabric of our Christmas hearth, the wood in the Christmas fire,” George Schweitzer, CBS’s former president of marketing, said in a phone interview. “You knew Christmas was coming when Rudolph and Frosty showed up on CBS.” More

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      Stephen Colbert Bans Kanye West From ‘The Late Show’

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      Colbert said his jurisdiction extended into the northern half of Times Square, and that he was “banning Kanye from coming north of Bubba Gump Shrimp.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Ye Takes Another ‘L’Stephen Colbert made a big announcement on Thursday night.“After much thought and soul-searching, I, Stephen Colbert, am banning Kanye West from the Ed Sullivan Theater,” Colbert said. “In fact, as host of ‘The Late Show’ my jurisdiction extends into the northern half of Times Square, and I am banning Kanye from coming north of Bubba Gump Shrimp.”“And I just want to take a moment here and just point out that this — this next part is the courageous part — I’m ending all of our high-profile collabs, including, but not restricted to, our collection of spreadable jams, Strawbeezy Jelleezy. And I have decided not to release our duets album, ‘Ye and Phen Sing ‘Fiddler on the Roof.’’” — STEPHEN COLBERT“I know this has been too long in coming. I have no excuses for why I didn’t do this before, except that he has never been on the show, had no plans to be on the show, we have never asked him to be on the show, and I’m not sure he’s aware that I have a show.” — STEPHEN COLBERT“But I had to do it now, because I was afraid he would just show up at any moment, because that’s what he did yesterday. The shoe company Skechers says it had to escort Kanye West from its offices after an unannounced visit. In five years, the idea of an unannounced visit from Kanye has gone from amazing to ‘Sir, you need to leave this Skechers.’” — STEPHEN COLBERT“Unlike with Adidas, Kanye never had a deal with Skechers. Apparently, Kanye is so desperate, he’s just driving around and searching Google Maps for ‘shoes near me.’” — STEPHEN COLBERTThe Punchiest Punchlines (Sinking In Edition)“Speaking of ‘Stranger Things,’ Elon Musk is in the news. Elon Musk is close to buying Twitter, and, yesterday, he walked into their headquarters carrying a sink just so that he could tweet — this is real— ‘Entering Twitter HQ. Let that sink in.’ That pun cost him $44 billion.” — JIMMY FALLON“I know a lot of people think that was corny, but I think once you have 87 children, you are allowed to make dad jokes.” — TREVOR NOAH“Just when you thought Kanye made the most bizarre entrance, Elon was like, ‘Hold my sink.’” — JIMMY FALLON“Where did he get the sink? Is it just the one he ripped out of the wall when the judge told him that he had to buy Twitter?” — TREVOR NOAH“If anything, Elon is the right billionaire to make this joke, you know? Because if Jeff Bezos walked into Amazon with a sink, his employees would be like, ‘Oh wow, we’re finally getting a restroom?’” — TREVOR NOAH“I’m looking forward to Twitter on his first bad day as C.E.O.: ‘Our stock is in the toilet!’” — STEPHEN COLBERTThe Bits Worth WatchingRonny Chieng makes the case that Halloween is awful in a new segment of “Prove Me Wrong” on Thursday’s “Daily Show.”Also, Check This OutGijsbert Hanekroot/Redferns, via Getty ImagesMusicians who worked with Stevie Wonder on his landmark 1972 album “Talking Book,” and others who just cherish it, reminisce about its magic, half a century after its release. More

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      Stand-Up Comics and the Parent Trap

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      Specials from Nick Kroll, Hasan Minhaj and other young dads and moms show just how difficult it is to mine fresh insights from such worked-over terrain.There are an endless variety of boring people, but none are more brazenly tedious than parents telling you about their kids.Part of the reason, I’m convinced, is that it is taboo to tell them so. When there’s no possibility of criticism, people get lazy. I know I do, droning on about sleep schedules or marveling to some poor trapped soul about how my daughters have opposite personalities. Besotted parents often can’t see how dull we are, a blind spot that is benign unless you’re listening to one. Or are a stand-up comic with a new baby.That population grew over the pandemic, particularly the number of dads. Mazel tov to Nick Kroll, Hasan Minhaj, Matt Braunger and Kurt Braunohler, all charming comics who in the past several weeks have released specials with jokes about becoming a parent. Daniel Sloss also procreated, and in a recent live show downtown, he confessed that he once hated when his favorite comics became parents, comparing the shift in their work to that of a British soccer star moving to an American league. It’s always a step down.Then Sloss did some mediocre material about having a child that just goes to show how powerful the temptation is to turn the stuff of Facebook oversharing into professional comedy.Jokes about raising children make an easy connection with certain sleepy-eyed audiences, but that can be its own parent trap. This is well-trod ground. (Ophira Eisenberg just started a podcast, Parenting Is a Joke, in which she talks to comics about raising kids.) It’s hard to hear Kroll discuss the double standards we have for mothers and fathers without thinking about Ali Wong’s breakthrough work. That the most successful dad comics of all time are Bill Cosby and Louis C.K. haunts the category. They once seemed endearing, too. But the primary challenge of stand-up on this subject is that it risks cheap sentimentality. Nothing smothers comedy faster.With their Netflix specials, Minhaj and Kroll lean into schmaltz. In “Little Big Boy,” Kroll describes watching his wife give birth as “majestic.” With glassy eyes, he says, “It’s like you’re seeing life, creation begin.”Minhaj also seems to tear up describing this moment in “The King’s Jester” while baby photos are projected behind him. “I’m like, oh my God, I’ve never felt this before in my life,” he says. “I’ve only known you three days but I would do anything for you. I can’t believe how much I love you.”I can. Parental love is a common if beautiful thing, and these are talented comedians. Kroll is a charismatic impressionist with a knack for surreal detail. The way Minhaj spoofs his own enjoyment of his righteous comedy going viral is one of the best bits I’ve seen about the wages of social media. But on the subject of children, they get deadly earnest, trite and sugary enough to make your teeth ache.“I’m like, oh my God, I’ve never felt this before in my life,” Hasan Minhaj says of becoming a father in “The King’s Jester.”Clifton Prescod/NetflixThey try to exploit the sappiness by juxtaposing it with something crass or trivial. But it’s too little, too late, after the maudlin emotionalism of their vision of new fatherhood. They both incorporate having children into narratives of their own growth.Kroll learns to appreciate his mother, and Minhaj tells his wife that while he would do anything for a joke, he won’t if it gets in the way of his family. This is lovely, but just because something is the right thing doesn’t make it the most interesting or entertaining.People like to say becoming a parent helped them become less self-involved, but making a smaller version of yourself can just as easily lead to a more insular, selfish life. It’s also possible to explore the subject without resorting to fairy-tale lessons and pat emotional arcs, but it requires some hardheaded decisions.The female comics I’ve seen recently seem more likely to do that. In her new Peacock special, “Ladykiller,” a pregnant Jena Friedman makes clever jokes about America’s hatred of moms by pinpointing how one of our most popular curses refers to having sex with one. In the first minutes of the new season of her Paramount+ sketch show, Amy Schumer is in her kitchen when a girl playing her daughter brings in a picture of the family she drew with a crayon. “I’m really not seeing it,” Schumer says, before imperiously ordering her to do it again. That’s the last we see of the kid.In “Ladykiller,” Jena Friedman uses a popular curse word to make a point about how America views mothers.Heidi Gutman/PeacockThe specials of Braunohler and Braunger benefit from not only clearly being aware of the pitfalls of parenting comedy, but also actively crafting strategies to elude them. Braunger all but hides those jokes in his special “Doug” (available on demand), neither opening nor closing with them, and introducing them with this segue: “OK, I’ve talked about big penises, testicles, what next?” he said, putting his finger in the air. “Oh, I have a daughter.”Braunger has an intense sarcastic delivery that builds up an impressive amount of deadpan comic energy. It reminds me a little of Brody Stevens. And while it slows when he describes his sadness at dropping off his daughter at day care, there’s something hilarious about this manic man as a parent. That is a good joke. By the time he pulls down his pants to show off his tattoo, you are convinced that becoming a father has not changed him.By contrast, Braunohler has the sensible bespectacled gravity of a paternal figure, a point he underlines in his new special, “Perfectly Stupid” (on Moment), by saying, “My life has finally caught up with my looks.” His bashfulness in admitting he has a child is the first clue that he knows this is treacherous territory. Then he shakes his head when the crowd roars. He’s too smart to want that. It’s no accident that he ends his hour with a sarcastic “aww.”His special smartly gets specific and eccentric, a good way to avoid cliché. “My daughter calls me ‘papa’ because we, as a society, ruined ‘daddy,’” he says. “No one ever said: ‘Choke me, papa.’”His reflection on the classic book “The Giving Tree” and, in particular, the oddly large and intimidating author photo of Shel Silverstein does what fresh comedy can, make you see things that were always there but never noticed. And though Braunohler actively works at not scoring easy emotional points, he does have a moving theme, one that culminates in a joke his daughter tells him that illustrates the perfectly stupid comedy he aims for.This hints at how becoming a parent can improve your comedy, because children understand certain kinds of primal jokes that adults lose the ability to appreciate. These laugh lines tend to be dumb or silly, but not, in my experience, sappy. That’s cringe mom and dad stuff. Braunohler notices and captures this quality without romanticizing it, which only makes the impact hit harder.Comics shouldn’t avoid joking about raising kids. It’s far too fertile territory, and the rewards of a new idea are considerable. Trust me: Parents could use a laugh. Even some sentimentality can complement humor if handled deftly.Perhaps the solution is to consider jokes about diapers or the impossibility of getting a 4-year-old to eat dinner the same way other comics grapple with jokes about the Holocaust or racist police brutality, which is to say, carefully, with high standards. When it comes to the banal and the transgressive, only the best will do. More

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      Stephen Colbert Ponders Dr. Oz’s Views on Abortion

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      “No one should have to discuss health care with their local political leaders, especially if you live in one of those really small towns where the local mayor is a dog,” Colbert said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Abort MissionOn Wednesday’s “Late Show,” Stephen Colbert joked that Mehmet Oz had already faced some obstacles as a Senate candidate in Pennsylvania: “For one thing, he lives in New Jersey.”In his monologue, Colbert said the candidate, a former talk show host also known as Dr. Oz, had “accidentally said what he meant” about abortion in his Tuesday debate with Lt. Gov. John Fetterman. Oz said the federal government should stay out of the issue, which he said should be left to women and doctors — and, he quickly added, “local political leaders.”“Oh, so close! No one — no one should have to discuss health care with their local political leaders. Especially if you live in one of those really small towns where the local mayor is a dog. ‘Making this decision was ruff. But I believe life begins at — squirrel!’” — STEPHEN COLBERT“Dr. Oz said abortion rights should be decided by women and their doctors and local political leaders, which is pretty slick, right? Because he started that sentence like he was on the side of women, then he snuck in the politicians at the end like a teenager buying condoms at the gas station.” — TREVOR NOAHThe Punchiest Punchlines (Speaking of Abortion Edition)“I think we can all agree there is only one politician who should have a say in your abortion and that’s Herschel Walker, because it is his. It’s his. It’s probably his. Ladies, check, they’re all his.” — TREVOR NOAH“Wait a second — didn’t we do this story already? Am I in a rerun right now?” — STEPHEN COLBERT, on another allegation that Walker, a candidate for the Senate in Georgia, had asked a woman to have an abortion“At this point, the only athlete who would be dumb enough to sign with Donda Sports is Herschel Walker.” — JIMMY KIMMEL, referring to Kanye West’s marketing agencyThe Bits Worth WatchingThe “Black Panther: Wakanda Forever” stars Lupita Nyong’o, Danai Gurira and Letitia Wright surprised fans on Wednesday’s “Jimmy Kimmel Live.”What We’re Excited About on Thursday NightTegan and Sara will perform a track from their new album “Crybaby” on Thursday’s “Tonight Show.”Also, Check This OutLawrence Mercado, a special effects artist, with Josh Nalley, who was playing a corpse on the set of “CSI: Vegas.”Sonja Flemming/CBSJosh Nalley posted videos of himself playing dead on TikTok. It led to a role as a corpse on “CSI: Vegas.” More

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      TikToker Lands the Role of a Lifetime: Playing Dead on TV

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      Every day for nearly a year, Josh Nalley posted TikToks of himself playing dead in the hopes of being cast in a television series or movie. Then “CSI: Vegas” reached out.The Otter Creek Outdoor Recreation Area, near Louisville, Ky., is Josh Nalley’s favorite place to play dead.This time of year is especially “creepy,” he said. The shuttered campground’s derelict buildings and the fallen leaves scattered on the ground make for an ideal filming location.Over the past year, Mr. Nalley has posted a daily TikTok of himself playing dead in the hopes of being cast as a corpse in a television series or movie. He’s lain prone along the banks of rivers and streams near his home in Kentucky; had his three dogs lick his face as he propped himself up against a tree; slumped in a car; floated in pools; draped himself over doorways and splattered himself across sidewalks.Mr. Nalley always included a caption tallying the number of days “of playing un-alive until I’m cast in a move or TV show as an un-alive body.”By mid-July, and about 200 videos later, “CSI: Vegas” took note. On Nov. 3, Mr. Nalley, 42, will appear on an episode of the forensic crime drama on CBS. The Courier-Journal of Louisville reported Mr. Nalley’s big, dead-guy break.“I was just having fun on the internet,” Mr. Nalley said. He never expected his campaign to actually catch on. He said he developed the concept “out of boredom.”

      @living_dead_josh #CloseYourRings #foryoupage #fyp ♬ Ruff Ryders’ Anthem (Re-Recorded / Remastered) – DMX “I was spending a lot of time on TikTok and trying to figure out what I could do to get on TikTok and maybe get in a movie with as little effort as I thought would be possible,” he said.Jason Tracey, the showrunner for “CSI: Vegas,” said Mr. Nalley was the perfect person to play “body in the background of the morgue.”“Nobody has done a more thorough job of auditioning for a nonspeaking role, maybe in the history of television,” Mr. Tracey said. “After 321 pictures or so, he hit his stride and it was time to get called up to the big leagues.”Mr. Nalley is not a big crime genre fan. In fact, he doesn’t watch much television at all. But he was a fan of the original “CSI.”He lives in Elizabethtown, Ky., and works as a restaurant manager in the next town over. He usually films multiple videos on his days off at nearby parks, like Bernheim Forest and Saunders Springs, or in his backyard, and posts them throughout the week. Sometimes he’ll even record outside the restaurant where he works.“A desolate, empty parking lot is always a good place to dump a big body,” he said.More often than not he films the videos using his phone and a tripod, but every once in a while he engages the help of friends of family. Mr. Nalley’s method is simple: He takes a couple of big breaths and then holds his breath for about 25 seconds and tries to stay as still as possible. That can prove difficult when a rock is digging into his side on the ground.“You want to move but you’re like, ‘No, just hold it for a little big longer,’” he said he tells himself.If he’s playing dead sitting up, Mr. Nalley will usually have his eyes open so viewers can see his face. If he’s lying down, his eyes are typically closed because “half my face is usually pressed into the ground.”While Mr. Nalley’s intentions are comedic in nature, TikTok does not always agree. He uses the term “un-alive” instead of “dead” and has moved away from gory makeup like fake blood and bullet wounds to avoid running afoul of the platform’s content moderators. (He’s been placed on probation with TikTok several times, he said.) Even Mr. Nalley’s handle, living_dead_josh, was crafted with TikTok’s algorithms in mind.He tries to capture TikTok trends of the moment and adds music to lighten the mood, including Johnny Cash’s “Ring of Fire” and the “Peanuts” theme song for a Thanksgiving post. One of his favorite videos is from Christmas, when he usually gets together with friends for pizza and beer. Last year, they all played dead together.

      @living_dead_josh #fyp #foryoupage ♬ It’s Beginning to Look a Lot like Christmas – Michael Bublé “I love that one because they’re family to me, they were all in it.” Mr. Nalley said.More than 200 videos later, producers at CBS emailed him about a role on “CSI: Vegas.” He didn’t believe it at first, but after an exchange of several emails, the studio flew him to Los Angeles over the summer. Mr. Nalley announced his new gig on Sept. 15, in video No. 321, in a caption over footage of him splayed out on the Hollywood Walk of Fame next to the star of Marg Helgenberger, a longtime “CSI” actress.

      @living_dead_josh Tune in to the Season 2 premiere September 29th @csicbs #csivegas #cbs #dreamcometrue #goals #fyp #foryoupage ♬ Who Are You – The Who The job required him to sit through two hours of makeup to make it appear as if an autopsy had been completed on his character. Over the course of five hours of filming, Mr. Nalley’s instructions were simple and familiar: “Take a deep breath and look dead,” he recalled.Mr. Tracey, the “CSI” showrunner, said the show and the job of a crime scene investigator “can be unrelentingly grim,” and producers try to find “gallows humor in the profession and in the history of the franchise.”Mr. Nalley’s quiet presence “was a nice way to keep it light on set that day.”“We often have dummies down in the morgue,” Mr. Tracey said. “The cast was as surprised as anyone else to have a breathing corpse next to them.”But he did have some half-serious notes for the aspiring dead body.“Honestly I would have liked to see a little less breathing, but we can fix that in post,” Mr. Tracey said. He offered an insider tip: “Most people don’t know you’re not supposed to move your eyes at all. The trick is to find a spot and focus even though they’re closed.”Mr. Nalley said he wasn’t sure what would be next for his career — perhaps another television show or a movie, maybe even one with the filmmaker and actor Kevin Smith, he mused. “I always like his movies and I think we have the same sense of humor,” Mr. Nalley said. “That would be awesome, even just a cameo.”But for now, he’ll keep posting his daily TikToks for his about 120,000 followers.“I hope they laugh, honestly,” he said. “I hope they chuckle, and I hope that inspires somebody to be perseverant.” More

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      Jimmy Kimmel Wonders Why Trump Would Talk to Bob Woodward

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      “Why are you agreeing to do 20 interviews on tape with the guy who took down Richard Nixon with tapes? With tapes!” Kimmel said on Tuesday.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.A Regular ChatterboxThe journalist Bob Woodward released hours of content from his interviews with former President Donald Trump in a new audiobook, “The Trump Tapes.”“According to Woodward, Trump would call him randomly at unexpected hours to talk while he was president,” Jimmy Kimmel said. “Because there is nothing he likes doing more than talking about himself — it’s his version of phone sex.”“One of the things he talks about is explaining Covid to his son, Barron, who was 13 at the time. He told Barron he wished he’d known about Covid two months earlier, so he could have stopped it, which is also what he told Ivana about Don Jr.” — JIMMY KIMMEL“Why are you agreeing to do 20 interviews on tape with the guy who took down Richard Nixon with tapes? With tapes! The emperor has no brain.” — JIMMY KIMMELThe Punchiest Punchlines (Just Dropped Edition)“Kanye West had another bad day. You know how Kanye said he could say antisemitic stuff and Adidas cannot drop him? Well, today, Adidas dropped him.” — JIMMY KIMMEL“Today, Adidas finally ended their massive deal with Kanye West after his antisemitism controversy. To which I say, ‘Ye!’” — STEPHEN COLBERT“No one wants to work with Kanye — even New Balance thinks he’s unbalanced.” — JIMMY KIMMELThe Bits Worth WatchingZedd and Maren Morris performed their song “Make You Say” on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightElizabeth Banks will promote her new film “Call Jane” on Wednesday’s “Daily Show.”Also, Check This OutRyan Condal on the set of “House of the Dragon.” The first season of the “Game of Thrones” prequel ended on Sunday.Ollie Upton/HBOThe “House of the Dragon” showrunner Ryan Condal was surprised by the warm reception given to Season 1 of the first “Game of Thrones” spinoff. More

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      James Corden Addresses His Restaurant Ban

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      The “Late Late Show” host said he shouldn’t have been rude to a server at Balthazar in New York. “I hope I’m allowed in again one day,” he said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Eating His WordsLast week, the owner of the New York restaurant Balthazar wrote on Instagram that James Corden had been banned after behaving rudely to a server. The post went viral, with many news outlets reporting on Corden’s alleged bad behavior.On Monday night’s “Late Late Show,” Corden said that he’d been off social media while the show was on hiatus for the last week.“Have I missed anything? Did I miss any news?” Corden joked.“Like whenever these sorts of moments come my way, I like to adopt quite a British attitude — sort of keep calm and carry on. Things are going to get written about me, never complain, never explain. It’s very much my motto. But as my dad pointed out to me on Saturday, he said, ‘Son, well, you did complain, so you might need to explain.’” — JAMES CORDEN“So when everybody’s meals came, my wife was given the food that she was allergic to. No, she hadn’t taken a bite, we sent it back, all was good. As her meal came wrong to the table the third time, in the heat of the moment, I made — I made a sarcastic, rude comment, right? About cooking it myself, and it is a comment I deeply regret, right. I understand the difficulties of being a server. I worked shifts at restaurants for years. I have — I have such respect and I value anyone that does such a job, and the team at that restaurant are so great. That’s why I love it there.” — JAMES CORDEN“But here is the truth of it, right, because I didn’t — because I didn’t shout or scream, like I didn’t get up out of my seat. I didn’t call anyone names or use derogatory language. I have been walking around thinking that I hadn’t done anything wrong, right? But the truth is like I have — I made a rude comment and it was wrong, and it was an unnecessary comment. It was ungracious to the server.” — JAMES CORDEN“I understand everybody getting upset and I accept — I accept everybody’s opinion. I also hate, as I said to the owner that day, that I’ve ever upset anybody ever — it was never my intention. It just wasn’t. And I love that restaurant. I love the staff there. I hope I’m allowed in again one day, so when I’m back in New York I can go there, and apologize in person, which is something I will absolutely do.” — JAMES CORDENThe Punchiest Punchlines (Big Fans Edition)“The Astros punched their ticket to the Series yesterday by sweeping the Yankees, but New Yorkers took their frustrations out on one Astros fan in particular: Senator Ted Cruz, who was in the city for the game. Man, New York does have a rat problem.” — STEPHEN COLBERT“You know, you would think Ted Cruz would be unwelcome in a place like the Bronx — and if you did think that, you would be absolutely correct!” — JIMMY KIMMEL“Yeah, there were a lot of boos, and a lot of extended middle fingers — which at this point, people, why does anyone bother? Ted Cruz sees those so often, he may not even be offended. He might just think that’s how people wave now.” — TREVOR NOAH“So, even though they lost the game, I think New York won the battle last night.” — JIMMY KIMMELThe Bits Worth WatchingThe standup comic Ariel Elias made her late-night debut on “Jimmy Kimmel Live” after going viral for how she handled a heckler during a recent set.What We’re Excited About on Tuesday NightSigourney Weaver will sit down with Jimmy Fallon on Tuesday’s “Tonight Show.”Also, Check This OutBy the time he was 49, Matthew Perry writes in his new book, he had spent more than half of his life in treatment centers or sober living facilities.Michelle Groskopf for The New York TimesMatthew Perry’s new memoir “Friends, Lovers and the Big Terrible Thing” addresses his struggles with success and sobriety. More

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      After Hollywood’s #MeToo Reckoning, a Fear It Was Only Short-Lived

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      Harvey Weinstein’s second sex crimes trial began Monday in Los Angeles. “She Said,” about the journalistic investigation that took him down and helped ignite the #MeToo movement, arrives in theaters on Nov. 18. “The Woman King” opened to strong ticket sales last month, with Viola Davis saying she thought about the man who sexually assaulted her to power her visceral performance as the leader of an all-female group of African warriors.The convergence is a reminder of just how earthshaking #MeToo was for Hollywood.It helped touch off a broader reckoning in the entertainment industry around diversity, equity and inclusion on both sides of the camera — who gets to make movies, who gets to be the subject of them. Activists say that studios and sets have been permanently changed for the better. Zero tolerance for workplace sexual harassment and discrimination is real.In recent months, however, Hollywood’s business culture has started to regress in subtle ways.New problems — widespread cost-cutting as the box office continues to struggle, coming union contract negotiations that producers worry will result in a filming shutdown — have become a higher priority. Fearing blowback, media companies that were vocal about #MeToo and Black Lives Matter have been quieter on more recent political debates over cultural issues.Diversity, equity and inclusion executives say they are exhausted by an old-boy network that is continuously trying to reconstitute itself: Women who were hired for big jobs and held up as triumphant examples of a new era have been pushed aside, while some of the men who were sidelined by misconduct accusations are working again.“The Woman King,” starring Viola Davis as the leader of an all-female group of African warriors, opened to strong ticket sales last month.Ilze Kitshoff/Sony PicturesIf asked to speak on the record about their continued dedication to change, Hollywood executives refuse or scramble in terror toward the “we remain staunchly committed” talking points written by publicists. But what they say privately is a different story. Some revert to sexist and racist language. Certainly, much of the fervor is gone.This article is based on interviews with more than two dozen industry leaders — including top studio executives, agents, activists, marketers and producers — who spoke on condition of anonymity to candidly discuss the current state of the entertainment business. They varied in age, race, ethnicity and gender.“For three years, we hired nothing but women and people of color,” said a senior film executive, who like many leaders in the industry is a white male. He added that he did not think some of them were able to do the jobs they got.In hushed conversations over lunch at Toscana Brentwood and cocktails at the San Vicente Inn, some powerful producers and agents have started to question the commercial viability of inclusion-minded films and shows.They point to terrible ticket sales for films like “Bros,” the first gay rom-com from a major studio, and “Easter Sunday,” a comedy positioned as a watershed moment for Filipino representation. “Ms. Marvel,” a critically adored Disney+ series about a teenage Muslim superhero, was lightly viewed, according to Nielsen’s measurements.“There was an overcorrection,” one studio head said.At another major studio, a top production executive pointed to the implosion of Time’s Up, the anti-harassment organization founded by influential Hollywood women, as a turning point. “For a while, we all lived in complete fear,” he said. “That fear remains, but it has lessened. There is more room for gray and more benefit of the doubt and a bit of cringing about the rush-to-judgment that went on at the height of #MeToo.”“Bros,” the first gay rom-com from a major studio, had disappointing box office results.Nicole Rivelli/Universal PicturesIs this a pendulum swing back to the bad old days?“Amazing progress has been made that is not going away, and that should not be discounted or overlooked,” said Amy Baer, a producer, former studio executive and the board president of Women in Film, an advocacy organization. “But there is fatigue. It is hard to maintain momentum.”Entertainment companies are not backing off the tough sexual harassment policies that have been introduced in recent years, in part because board members are worried they will face shareholder lawsuits. The Academy of Motion Picture Arts and Sciences recently recommitted to its diversification campaign. Despite years of aggressive efforts to invite women and people of color to become members, the academy is currently 66 percent male and 81 percent white..css-1v2n82w{max-width:600px;width:calc(100% – 40px);margin-top:20px;margin-bottom:25px;height:auto;margin-left:auto;margin-right:auto;font-family:nyt-franklin;color:var(–color-content-secondary,#363636);}@media only screen and (max-width:480px){.css-1v2n82w{margin-left:20px;margin-right:20px;}}@media only screen and (min-width:1024px){.css-1v2n82w{width:600px;}}.css-161d8zr{width:40px;margin-bottom:18px;text-align:left;margin-left:0;color:var(–color-content-primary,#121212);border:1px solid var(–color-content-primary,#121212);}@media only screen and (max-width:480px){.css-161d8zr{width:30px;margin-bottom:15px;}}.css-tjtq43{line-height:25px;}@media only screen and (max-width:480px){.css-tjtq43{line-height:24px;}}.css-x1k33h{font-family:nyt-cheltenham;font-size:19px;font-weight:700;line-height:25px;}.css-1hvpcve{font-size:17px;font-weight:300;line-height:25px;}.css-1hvpcve em{font-style:italic;}.css-1hvpcve strong{font-weight:bold;}.css-1hvpcve a{font-weight:500;color:var(–color-content-secondary,#363636);}.css-1c013uz{margin-top:18px;margin-bottom:22px;}@media only screen and (max-width:480px){.css-1c013uz{font-size:14px;margin-top:15px;margin-bottom:20px;}}.css-1c013uz a{color:var(–color-signal-editorial,#326891);-webkit-text-decoration:underline;text-decoration:underline;font-weight:500;font-size:16px;}@media only screen and (max-width:480px){.css-1c013uz a{font-size:13px;}}.css-1c013uz a:hover{-webkit-text-decoration:none;text-decoration:none;}What we consider before using anonymous sources. Do the sources know the information? What’s their motivation for telling us? Have they proved reliable in the past? Can we corroborate the information? Even with these questions satisfied, The Times uses anonymous sources as a last resort. The reporter and at least one editor know the identity of the source.Learn more about our process.Studios remain focused on inclusive casting, most notably Disney, which has a live-action “Little Mermaid” movie on the way with a Black actress playing the title role, and a “Snow White” movie in production with a Latina lead.The moment is nonetheless unnerving, said Sarah Ann Masse, an actress who appears in “She Said” — which is based on a book by The New York Times reporters Jodi Kantor and Megan Twohey — and who serves on two sexual harassment prevention committees for SAG-AFTRA, the omnipotent actors union. In 2017, Ms. Masse accused Mr. Weinstein of sexually assaulting her in 2008. He has denied wrongdoing.“I’m not naïve enough to think that a system that is unequal and oftentimes oppressive — yes, still, very much so — is going to change overnight,” Ms. Masse said. “At the same time, I find it incredibly frustrating. People at the top of the food chain, in particular, seem to have gotten distracted by new concerns.”In August, Warner Bros. Discovery shelved “Batgirl,” a nearly finished movie starring a Latina actress, featuring a transgender actress in a supporting role, written by a woman, produced by women and directed by two Muslim men. Warner Bros. Discovery never publicly explained its decision, but signaled that it found “Batgirl” to be creatively lacking.Dan Lin, a producer whose credits include “Aladdin” (2019) and “The Lego Movie,” was among those who inferred something else.“It’s no longer about optics,” Mr. Lin said. “A recession is coming, budgets are tightening and I’m really worried that diversity is going to be the first thing that goes.”The producer Dan Lin recently started a nonprofit that aims to help budding minority filmmakers and writers.Todd Williamson/Invision, via APLast week, Warner Bros. Television, as part of wider cost cutting, shut down “new voices” programs for emerging writers and directors, prompting a fiery reaction from the Directors Guild of America. “The D.G.A. will not stand idly by while WB/Discovery seeks to roll back decades of advancement for women and directors of color,” the guild said in a statement.Within a day, Warner Bros. Discovery had scrambled to clarify that, while the “new voices” programs would indeed end, it had planned all along to expand talent pipeline programs in its diversity, equity and inclusion department.“The resolve is still there to have more women and people of color in writers’ rooms and directing and up on the screen” Mr. Lin said. “The problem is that there is so little training and support. Those things cost money.” To help, Mr. Lin recently started a nonprofit accelerator called Rideback Rise that focuses on budding minority filmmakers and writers.There is no longer across-the-board banishment for men who have been accused of misconduct. Johnny Depp is directing a film, having largely won a court case in which his former spouse, the actress Amber Heard, accused him of sexual and domestic violence. John Lasseter, the animation titan at Disney and Pixar, was toppled in 2018 by allegations about his behavior and unwanted hugging and apologized for “missteps” that made some staff members feel “disrespected or uncomfortable.” He is now making big-budget films for Apple TV+. James Franco’s acting career imploded in 2018 amid sexual misconduct allegations. Four years later, after a $2.2 million settlement in which he admitted no wrongdoing, he has at least three movies lined up.Johnny Depp largely won a court case in which his former spouse, the actress Amber Heard, accused him of sexual and domestic violence.Craig Hudson/Associated PressStudios have also started to take more risks with content — backing scripts, for instance, that would have been radioactive in 2018, at the height of #MeToo, or in 2020, when Black Lives Matter was at the forefront of the culture.Examples include “Blonde,” the Netflix drama about Marilyn Monroe that has been derided by critics as exploitative and misogynistic. (It features an aborted fetus that talks.) Paramount Pictures is working on a live-action musical comedy about slave trade reparations; it comes from Trey Parker and Matt Stone, the politically incorrect creative forces behind “South Park” and “The Book of Mormon.”Two ride-along reality shows that glorified the police, “Cops” and “Live PD,” and were canceled in the aftermath of George Floyd’s killing in police custody have both been reconstituted. “Cops” was picked up by Fox Nation, a streaming service from Fox News, and “On Patrol: Live,” a thinly disguised copy of “Live PD,” debuted over the summer on Reelz, a cable network.At the same time, some movies and shows that overtly showcase diversity and inclusion have either struggled in the marketplace or failed to get off the runway. The takeaway, at least to some agents and studio executives: We tried — these “woke” projects don’t work.Of course, most of what Hollywood makes struggles to get noticed, and almost never for a single reason; nobody looks at poor ticket sales for a Brad Pitt movie and concludes that no one wants to see older white men onscreen. But entertainment is a reactive business — chase whatever worked over the weekend — and there is a risk that “go woke, go broke” jokes could calcify into conventional Hollywood wisdom.“When the real question should be whether comedies generally can succeed at the box office, my concern is that the question is becoming ‘can a Filipino comedy work’ or ‘can a gay comedy work,’” said Mr. Lin, who produced “Easter Sunday,” which starred Jo Koy and collected $13 million in theaters before stalling out. “If you are a woman or a minority, you still do not get repeated chances.” More