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In the opening sketch of “Saturday Night Live,” Kate McKinnon played Dr. Anthony S. Fauci, attempting to explain the latest recommendations for people who are fully vaccinated.If you still have questions about the newest recommendations for fully vaccinated Americans issued earlier this week by the Centers for Disease Control and Prevention, “Saturday Night Live” has answers. More
“Yeah, if you are fully vaccinated, you can go back to doing the things you did before the pandemic,” Fallon said. “Well, not everything — if you’re Trump, you still can’t tweet.”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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now. More
Ms. Hayes had quite a cackle, and it served her well in a number of witchy roles, beginning in 1969 on a short-lived but much remembered TV series.Billie Hayes, who rode a memorable cackle to kiddie-TV fame, playing a witch named Witchiepoo in the short-lived but much remembered 1969 series “H.R. Pufnstuf,” died on April 29 in Los Angeles. She was 96.News of her death was posted on her website.Ms. Hayes had built a moderately successful stage career and had portrayed Mammy Yokum in the 1959 film version of “Li’l Abner” (reprising a role she had played on Broadway) when she was cast as Witchiepoo.“H.R. Pufnstuf” was the first of a string of children’s shows made by the brothers Sid and Marty Krofft in the 1970s — trippy, slapdash-looking affairs that contrasted noticeably with the carefully pitched messages of “Sesame Street” and “Mister Rogers’ Neighborhood,” which were born in the same era. Krofft shows tended toward the bizarre: “Lidsville,” for instance, which also starred Ms. Hayes (as well as Charles Nelson Reilly), involved a land of living hats.Few of the shows lasted long — “Pufnstuf” survived only 17 episodes — but they made an impression.“The Kroffts dished up a swirl of psychedelia, vaudeville and cheesy production values that might be described as brown acid for the toddler soul,” Emily Nussbaum wrote in The New York Times in 2004, when TV Land broadcast a marathon of Krofft creations.“Pufnstuf” was a sort of comic sendup of “The Wizard of Oz,” with Witchiepoo pursuing a talking flute possessed by a boy named Jimmy (Jack Wild) in much the way Margaret Hamilton’s Wicked Witch of the West craves Dorothy’s ruby slippers.The red wig and elaborate makeup Ms. Hayes wore made her a striking figure, but witchy ineptitude kept Witchiepoo from being too scary. In 1970 she played the character in a film version, called simply “Pufnstuf,” in a cast that also included Martha Raye as a character named Boss Witch and Cass Elliot of the Mamas and the Papas as one named Witch Hazel.For years afterward the role made Ms. Hayes popular among casting directors in search of a witch. In 1971 she played one in an episode of the sitcom “Bewitched” in which she was ultimately bested by Samantha, the series’ star witch, played by Elizabeth Montgomery. In 1985 she was the voice of the witch Orgoch in the animated Disney film “The Black Cauldron.” She was the voice of a cackling witch in “Shrek Forever After” in 2010.Perhaps most memorably, in 1976 the comedian Paul Lynde, with whom she had first worked decades earlier, managed to pair her and Ms. Hamilton in a running sketch on “The Paul Lynde Halloween Special,” which also featured appearances by Betty White, Donny and Marie Osmond and the rock group Kiss, and which has taken on a sort of kitschy fame.“The two witches bookend Mr. Lynde as they cackle their way through the hardcover editions of ‘Rosemary’s Baby’ and ‘The Exorcist,’ call ‘The Sound of Music’ a real horror movie and play Witches’ Monopoly, a board game in which contestants can either buy a property or blow it up,” The New York Times wrote in 2007 when a DVD of that television rarity was released.Ms. Hayes played other roles in her somewhat sporadic career, including providing the voices for characters on “The Brothers Flub,” “Transformers: Rescue Bots” and other animated shows. But Witchiepoo was the one that stuck in people’s heads. In 2003 Inside TV ranked her No. 3 on its list of Top 10 witches in TV history, behind only Ms. Montgomery and Catherine Hicks, who played Amanda Tucker on the 1980s series “Tucker’s Witch.”Ms. Hayes at the Museum of Television and Radio in Beverly Hills, Calif., at a party celebrating the release of “H.R. Pufnstuf” on DVD in 2004.Stephen Shugerman/Getty ImagesBillie Armstrong Brosch was born on Aug. 5, 1924, in Du Quoin, Ill. Her father, Charles, was a coal miner, and her mother, Marie (Armstrong) Brosch, was an administrator for the Perry County General Assistance Office.She began performing as a child and continued to do so after leaving high school early, performing in Chicago and with U.S.O. shows. (An agent at the start of her professional career suggested that “Brosch” was not an ear-friendly name for a performer.)She eventually secured a role in a touring show called “What’s New” with Mr. Lynde. In 1956 Mr. Lynde wrote and directed sketches for a Broadway revue called “New Faces of 1956,” and Ms. Hayes found herself as one of those new faces — along with a young British actress named Maggie Smith.Ms. Hayes said her commitment to “New Faces,” which ran for 220 performances, kept her from accepting an offer to originate the role of Mammy Yokum in “Li’l Abner,” a musical based on Al Capp’s comic strip characters, when it opened on Broadway in November 1956, but she later stepped into the part, replacing Charlotte Rae. She won the role in the 1959 film version.Ms. Hayes was also president of Pet Hope, an animal care organization. She leaves no immediate survivors.In a 1969 interview with the Dallas-area broadcaster Bobbie Wygant, Ms. Hayes noted that, though Witchiepoo was the villain of “Pufnstuf,” she received a lot of fan mail from children seeking her help with kid-size problems.“I’m the Ann Landers of the witch world,” she said.“I don’t know why they pick the witch to write to,” she said, “unless they figure either she’s so dumb she’ll give me a funny answer or she’s so smart I’ll get out of trouble.” More
On her new Showtime series, Ziwe Fumudoh’s feminine-with-a-wink style enables her sharp comedy.In the first episode of her new variety series on Showtime, the comedian Ziwe Fumudoh asks the writer Fran Lebowitz: “What bothers you more: slow walkers or racism?”“This character is hyperbolic,” Ms. Fumudoh said a few days before the premiere of “Ziwe.” “It’s only hyperbole that somebody would ask that question. And you see that reflected in how I dress.”Ms. Fumudoh was explaining how the wardrobe for the series came together: a tornado of pink that has sucked up a few feather boas, a mountain of crystal embellishments and an assortment of fuzzy hats, plastic visors, tiny sunglasses and opera gloves. When the costume designer Pamela Shepard-Hill would add a ring to an outfit, Ms. Fumudoh would ask for six more, “and then let’s do a cuff that’s entirely made of diamonds,” she said.On “Ziwe,” whether during a confrontational interview or parody music video, Ms. Fumudoh plays an audacious, quick-witted consumerist, whose attitude and armor is inspired by an unholy marriage of Dionne from “Clueless” and Paris Hilton in “The Simple Life,” along with a few other ultrafeminine pop culture figures of the 1990s and aughts. (In a sketch about plastic surgery, she wears matching pink sweatpants and a sleeveless crop top, wordlessly making a reference to Amy Poehler’s desperate mom from “Mean Girls.”)As a comedian who became famous for making people uncomfortable with questions about race and class, Ms. Fumudoh, 29, uses fashion like a weapon, creating an air of innocence with her Delia’s catalog looks, then slicing through it with the sharp heel of a Barbie stiletto.She is also an exceptionally physical performer, writhing and jumping through her musical numbers, whether channeling a jazzy “Chicago” siren or a girl-group member, circa 1999. Extensive legs-in-the-air choreography had to be taken into consideration when planning her ensembles, Ms. Shepard-Hill said.Ms. Fumudoh, in a LaQuan Smith catsuit, rose to prominence on Instagram Live, wearing equally bold outfits and makeup.Greg Endries/Showtime“We would have fittings, and I would be like, ‘OK, do your choreography,’” she said. “Then instantly: ‘That’s inappropriate. Take that off. That’s actually not OK for Showtime.”For the music videos in particular, hyperbolic Ziwe borrows from the real Ziwe’s closet. In a song called “Stop Being Poor” (a joke, in Episode 3, about people who believe being poor is a choice), Ms. Fumudoh wears a skintight all-crystal minidress by Aidan Euan of Akna.“How absurd is it to have a dress that luxurious in a time like this?” she said. “It so encapsulates the idea of ‘Stop Being Poor’ that I got it for ‘Stop Being Poor’ before we even wrote the song ‘Stop Being Poor,’ when I just knew that it was something I wanted to do.”In the 1920s-inspired number “Lisa Called the Cops on Black People,” she wears her own off-the-shoulder black velvet-and-mesh catsuit by LaQuan Smith.When putting together a mood board for the show, Ms. Shepard-Hill included iconic — a favorite “Ziwe” adjective — models like Donyale Luna and Naomi Campbell, as well as rappers like Rico Nasty and Saweetie. She included Josephine Baker, the music-hall star and World War II spy, too.“It was a real range of women that span time but are all iconic in their visuals, iconic in their style and sensibility,” said Ms. Shepard Hill, 37, who is also a stylist and instructor at Parsons School of Design.But in creating her wardrobe, Ms. Fumudoh was also thinking about the white comedians who dominate late-night TV and how to portray herself as the opposite of the suit-wearing men she calls “Jimmy, Jimmy, John, John,” whose wood-heavy sets are “really, really masculine — all blues and blacks and sharp images.”Ms. Fumudoh credits “Legally Blonde,” Rihanna and Lindsay Lohan (among others) as influences on her character’s style.Greg Endries/Showtime“If all of late night is painted with masculinity, my show is hyper-feminine,” she said. “I wear a lot of sparkles. You would never have seen John Oliver in a choker.“When I was growing up, and especially when I first started in media, the idea was to downplay your femininity. If a woman wants to be taken seriously, she wears glasses and pants and she talks with a lower voice like she works for Theranos.”On the wall of the set where Ms. Fumudoh conducts her interviews, there’s a large photo of a young Oprah Winfrey, who deeply influenced “Ziwe,” Ms. Fumudoh said. The Meghan Markle and Prince Harry interview was broadcast the night before the team began cutting the show, and the drama of it “really shaped the way we framed every episode.” It’s not a stretch to imagine Ziwe delivering the same scene-stealing “silent or silenced” line.There’s something else about the plastered photo of Ms. Winfrey that feels tied to “Ziwe”: In it, she’s wearing pink and pearls. Early in her career, Ms. Winfrey found a way to ask tough questions while communicating her femininity.In the first episode of “Ziwe,” when Ms. Fumudoh sits across from Ms. Lebowitz, Ms. Fumudoh wears a short black blazer dress with electric pink lapels, and her own thigh-high chunky-heel leather boots. It’s not a designer piece; it’s available at AD Los Angeles for $149.Despite the opulent aesthetic of “Ziwe,” the costume budget was somewhat limited, in part because it’s a new show, Ms. Shepard-Hill said. The dream, if there’s a second season? “A whole in-house team, where everything could be custom-built from head to toe,” she said.The blazer dress outfit was originally intended for a sketch in which Ziwe, channeling a billionaire Marilyn Monroe acolyte, announces her candidacy for New York City mayor. (“Gone are the days of old white men abusing the office of the mayor to do crooked favors for their ugly friends. Because I don’t have any friends, and I only do favors for myself.”)But Ms. Fumudoh felt strongly about wearing it for the first episode instead, using it to set that subversive anti-late-night host tone for the series.“That pink lapel is such a splash accent that it really captures what the show is,” she said. “All the outfits are telling a story in, like, 19 different ways, beyond the actual text that we write and say.” More
“I’m confused — I thought these guys hated cancel culture,” Kimmel said after the Republicans ousted Cheney from her leadership position in the House on Wednesday.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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.The Ouster of Liz CheneyLate-night hosts were all over the vote by Republicans to boot Representative Liz Cheney on Wednesday from her House leadership post after she refused to toe the party line on Donald J. Trump.“I’m confused — I thought these guys hated cancel culture,” Jimmy Kimmel said.“I never thought I’d be pro-Cheney in any way, but it has happened.” — JIMMY KIMMEL“She said Republicans must speak the truth; the election was not stolen. So she had to go.” — JIMMY KIMMEL“Living in reality should be the bare minimum for holding public office, and yet today’s G.O.P. is so [expletive] crazy, simply living in reality is considered heresy.” — SETH MEYERS“I mean, here they are, trying to move past the attempted coup and focus on looking forward to the next attempted coup, but Cheney just wouldn’t let it go.” — TREVOR NOAH“Wow, I respect Liz Cheney taking a stand against Trump, but it does feel a little less threatening when she’s doing it as she’s being removed from power, you know? It’s got the vibe of a villain falling into a volcano while saying, ‘This isn’t over!’” — TREVOR NOAH“Cheney was ousted via voice vote during a closed-door meeting. So we don’t know exactly what happened, but sources in the room say she made a defiant final speech that drew boos from her colleagues. But to be fair, Matt Gaetz boos any woman not wearing braces.” — STEPHEN COLBERT“Her principal political patron is a man who was compared to Darth Vader and took it as a compliment. She learned Washington infighting from a man who lived a year with no heartbeat. If I were Kevin McCarthy, I’d grow a beard and dig a spider hole.” — STEPHEN COLBERTThe Punchiest Punchlines (Liz ‘Loose Canon’ Cheney Edition)“House Republicans voted today to remove G.O.P. conference chair Liz Cheney from her leadership position, but they’re already claiming it never happened.” — SETH MEYERS“You know, you can’t have Republicans going around saying Biden won the election — people might get the right idea.” — JIMMY KIMMEL“Yeah, Republicans haven’t turned on someone this fast since they tried to murder Mike Pence.” — JIMMY FALLON“They had to! She was a loose cannon. They made her turn in her badge and her gun, and her other gun, and her other, other gun. They really like guns.” — STEPHEN COLBERT“After the vote, Liz Cheney said that she doesn’t want Trump to get near the Oval Office ever again. Yeah, it’s not that hard — all you have to do is hang a sign outside that says, ‘Just Salad.’” — JIMMY FALLONThe Bits Worth WatchingSamantha Bee dedicated Wednesday’s “Full Frontal” to confronting gun violence and asking viewers to “do one [expletive] thing about guns.”What We’re Excited About on Thursday NightChris Rock, star of “Spiral,” will be on Thursday’s “Jimmy Kimmel Live.”Also, Check This OutThe Go-Go’s in the early 1980s. From left: Kathy Valentine, Jane Wiedlin, Gina Schock, Charlotte Caffey and Belinda Carlisle.Paul Natkin/WireImageHalf of this year’s Rock & Roll Hall of Fame inductees are women, including Tina Turner, Carole King and the Go-Go’s. More
As the daughter of Laraine Newman, she has an understanding of the ups and downs of early success. Will those lessons be helpful for her first series, “Hacks”?Right before the shutdown last year, the comic Hannah Einbinder became, at 23, the youngest (and as of now last) stand-up to perform a set on “The Late Show With Stephen Colbert,” making a splash in her network television debut. More
New and returning TV series like “The Gilded Age” and “The Good Fight” have been a lifeline for celebrated theater actors during the pandemic. Will TV, or theater, ever look the same?Back in March, the actress Kelli O’Hara arrived on Rhode Island’s Gold Coast. A company of theater heroes, with enough combined Tonys to crowd a mansion’s mantels, met her there. “It was almost like Broadway said, ‘We’re shutting down,’” O’Hara recalled during a recent telephone interview. “So 20 of us got together and said, ‘Let’s go do a play in a seaside town.’”But O’Hara — and colleagues like Christine Baranski, Nathan Lane, Debra Monk and Cynthia Nixon — hadn’t come to Newport to for a summer stock job. Or even for the clam cakes. They were on location for “The Gilded Age,” a robber baron costume drama from Julian Fellowes that will premiere on HBO in 2022.With Broadway theaters closed since last April, “The Gilded Age” joins current series like “The Good Fight,” “Younger” and “Billions” and upcoming ones like “The Bite” and a “Gossip Girl” reboot in providing a glitzy refuge for theater stars during the shutdown. Broadway performers have always appeared here and there on scripted series. (No 2000s Playbill bio was complete without a “Law & Order” credit.) But this past year, television work — which is typically better paid than theater and more luxurious in its perks — was pretty much the only show in town.Benton as Natasha in the musical “Natasha, Pierre & The Great Comet of 1812,” which earned her a Tony nomination. Sara Krulwich/The New York Times“People are just really excited to be working and to have human contact and to be on set and telling a story again,” Allison Estrin, the casting director of “Billions,” said. “Every actor I’ve talked to has just expressed nothing but gratitude and excitement for being able to work right now.”And because every stage actor was suddenly available, television has never seemed so theatrical. (You could cast a credible Sondheim revival with actors on “The Good Fight” alone.) Will television ever look the same? Will Broadway?A year or so ago, casting directors would have had to compete with — or maneuver around — Broadway commitments. “It was always a scheduling nightmare to work around people’s curtain times,” Robert King, a creator of “The Good Wife” and “The Bite” said.“Sorry to say it, but it worked for us,” he added about the shutdown, “because we could schedule more freely.”Tavi Gevinson.The CWAdam Chanler-Berat.The CWTavi Gevinson and Adam Chanler-Berat, stars of the new “Gossip Girl,” had both committed to a revival of the Stephen Sondheim musical “Assassins.” “We were going to work overtime and do back flips to make it work for them,” Cassandra Kulukundis, the “Gossip Girl” casting director, said. The pandemic put an end to back flips. Did that make Kulukundis’s life easier?“It made my life sad,” she said. “I want to see those people working.”Although some shows had completed casting before Covid-19 hit New York, many have stepped up with an express desire to employ stage actors. “Everyone’s aware that it’s a horrible time,” Warren Leight, the showrunner for “Law & Order: Special Victims Unit,” said. “And if you can help out, you do.”“So I just made the call early on,” he continued: “Let’s make this the year where the first pool of actors we go to is a Broadway actor, the Off Broadway actors.” He estimates that he has employed an average of 10 theater actors — Jelani Alladin, André De Shields, Adriane Lenox and Eva Noblezada among them — per episode this season.Robert and Michelle King conceived the goofy horror comedy “The Bite,” in part, to keep stage actors working. “Employing people that were out of work from the theater was uppermost in our mind,” Michelle King said. She doesn’t think that the six-episode show, which debuts May 21 on Spectrum, would have worked without stage performers. Filmed comparatively early in the pandemic, it was mostly shot remotely, in actors’ homes.“Because people are acting by themselves, you really need people that are at the very top of their craft,” she said. “If we hadn’t had access to those people, the show wouldn’t have come together creatively.”Like Gevinson and Chanler-Berat, Steven Pasquale (as seen in “The Bite”) was committed to a revival of the Stephen Sondheim musical “Assassins” before Covid-19 hit New York.Spectrum Originals/CBS StudiosFor Steven Pasquale, a Broadway veteran who was also slated for the “Assassins” revival, “The Bite” provided a welcome alternative. “It felt a little bit like we were making theater, even though we were making a TV show, because there were so many theater people involved.”“The Gilded Age,” which employs 17 Tony winners and nominees in its cast, had a similar put-on-a-show ethos. “There is something about theater actors on a television set,” said Audra McDonald, a six-time Tony winner and a star of “Gilded,” “The Bite” and “The Good Fight.” “It feels like it’s a repertory company.”Nixon said that “Gilded” had brought her back together with theater co-stars from her 20s, 30s, 40s and 50s. During a recent shoot, Nixon recalled, she looked at the cast members in the scene and said to Baranski, “We could totally do ‘The Importance of Being Earnest’ right here.”This isn’t to suggest that casting stage performers is an act of charity or an excuse for an impromptu reunion. Yes, Broadway actors may have less on-camera experience than some of their Hollywood counterparts. But they bring an ease with stylized language, as well as a professionalism and can-do attitude that inures them to the hectic rhythms and sudden changes of a television set, especially a set operating under Covid-19 precautions.From left, Audra McDonald, Christine Baranski and Cush Jumbo in “The Good Fight.” “There is something about theater actors on a television set,” McDonald said. “It feels like it’s a repertory company.” Patrick Harbron/CBS“People who work in live theater, where anything can go wrong, they’re always on their toes,” said Kulukundis, the “Gossip Girl” casting director. Christine Baranski, a Tony winner and a star of “The Good Fight” and “The Gilded Age,” put it this way: “We have a skill set and a respect for process. You hire a theater actor and they’ll come in prepared.”Theater actors are unruffled by specialized jargon. Estrin can always tell when a stage actor walks into the audition room for “Billions.” An exuberant drama set among financiers and the regulators who love-hate them, its current season includes the Tony nominees Daniel Breaker, Stephen Kunken and Sarah Stiles.“It isn’t easy dialogue to say,” Estrin said. “They walk in the door and make it look easy.”Brandon Victor Dixon and McDonald in the Broadway musical “Shuffle Along.” McDonald tried for years to get a song written into “The Good Fight,” finally succeeding in Season 3.Sara Krulwich/The New York Times“Younger,” a pacey comedy set in the world of Manhattan publishing, often relies on musical theater stars to deliver its zingers. “These are actors that are able to make the words sing,” said Steven Jacobs, one of the show’s casting directors.When it comes to words that people might have used a century ago, stage actors typically have an advantage. Not every film or TV actor has done period work, but theater-trained actors usually have at least a few Shakespeare plays and Shavian comedies under their era-appropriate belts.“We tend to have experience with having to wrap our mouths around different types of texts,” Denée Benton, a Tony nominee who stars in “The Gilded Age” said. “I’ve spent my entire career in corsets. So when this show came around, I was like, ‘Yeah, I know how to do this.’”Doing this without giving up theater wasn’t always an option. Back in the ’90s, when Baranski needed to earn more money and decided to seek television roles, she had to move to Los Angeles.“There wasn’t enough TV work in New York back then,” she said. “Now there is, and it’s a great thing for the theater community. God, I wish it had happened earlier.”The Emmy- and Tony-winning actor André De Shields in scene from “Law & Order: Special Victims Unit” The show employed an estimated 10 theater actors per episode this season.Virginia Sherwood/NBCDuring this lost Broadway season, New York-based series have allowed Broadway talent to keep their health insurance and pay their mortgages without having to uproot their lives. Television has also provided a spiritual solace, a means to practice their art when other modes were unavailable. (Or as in the case of Zoom theater, glitchy and not always satisfying.)“The creative safety of knowing I’m going to get to use my gifts, the financial safety of knowing that I’m going to be able to pay my bills for a time period, it’s priceless,” Benton said. O’Hara put it even more feelingly. “It’s the most beautiful gift I’ve ever had,” she said of her work on “The Gilded Age.” “It fooled me into thinking I’m still doing theater.”Mandy Patinkin, a Broadway legend and a series regular in the coming season of “The Good Fight,” tried out retirement last year, after a nearly decade-long run on “Homeland.” He hated it. Returning to television gave him a renewed sense of purpose.“Part of what Covid taught me, among so many things, was the appreciation of the privilege of having a vocation that would structure my day and my life and my evenings and my time on Earth,” he said.De Shields won a Tony for his performance in the Broadway production of “Hadestown.”Sara Krulwich/The New York TimesSlowly, Covid’s heavy curtain is starting to rise. Most of New York’s capacity restrictions, including those governing live theater, are scheduled to end on May 19 with social distancing requirements still in place; Broadway theaters, which depend on tourists and are too expensive to operate with limited audiences, have been cleared to reopen at full capacity beginning on Sept. 14.But with so many actors having found comfort and health insurance in television in the past year, will they return to the stage?Even before the pandemic, casting plays and musicals had become more difficult, said Bernard Telsey, a casting director for “The Gilded Age” and a co-artistic director of MCC Theater. “Everyone is wanting to do television now,” he said. This applies as much to younger stage actors as to seasoned ones. “They’re five minutes out of Juilliard, and they’re looking at a television show,” he said.But there are pleasures — for actors and audiences — that television can’t offer, at least not often and not without a lot of begging first. There are few high Cs on TV, and fewer kick lines. But “Younger” has included a few songs, among them a blissful “9-to-5,” led by Miriam Shor, an original cast member from “Hedwig and the Angry Inch.” There’s also a scene this season in which the series lead, Sutton Foster, dances to a song from “Thoroughly Modern Millie,” a show she starred in.“I’m always looking for little excuses to see her really step out and perform a little bit,” Darren Star, the creator of “Younger,” said.McDonald tries to make TV just a little more theatrical. For years, she asked the Kings to write a song into “The Good Fight.” They finally agreed and in the third season, McDonald and Baranski’s characters break into “Raspberry Beret” during late-night case prep.“We had a ball doing that,” McDonald said. “Because we knew it was as close to a musical number as we would ever get.”Matt Stevens More
The founder of Amazon has a new superyacht that is so big, it requires a second yacht with a helipad. “I mean, who hasn’t needed a separate yacht just for his helicopter?” Colbert joked 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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now. More
