Well, sort of. Renowned Trump impersonator Anthony Atamanuik will helm The President Show, a weekly production that purports to be broadcast direct from the Oval Office, where the faux commander in chief can circumvent the crooked media’s fake news factories for straight Trump talk.
“Laughing at the President is a proud American tradition and we hope not to disappoint anyone in that department,” said Atamanuik. “But our political system is too broken for us to be content joking about one man, even though he is a disastrous silly little toddler boy. Mostly I’d just like to thank Comedy Central for giving us this platform to speak truth to power and if we’re lucky, end up in prison!”
Behind a wide-ranging slate of live-action and animated shows, Nickelodeonswept ratings compilations of the top 10 children’s programs for the first quarter of 2017 among kids 2-11 and 6-11.
The accomplishment continues a torrid winning streak for Nickelodeon, which marks its third year as the top kids’ network among kids 2-11 and preschoolers. This is Nick’s seventh consecutive quarter winning those two demos, and its second in a row among kids 6-11. Ratings grew among all three demos during the quarter.
“When they sent me to Rikers Island, I was 16. I would say it was like hell on Earth. Sometimes, you know, I feel like I’m never going to be the same. You know, I smile, and I joke a lot. But, you know, deep down, I’m a mess because like I’m 21, and on the inside I feel like I’m 40.” – The late Kalief Browder – Time: The Kalief Browder Story
Spike’s documentary series Time: The Kalief Browder Story exposes our broken U.S. justice system through the tragic story of Kalief Browder—a young black man who committed suicide in 2015 after spending three years on New York City’s Riker’s Island prison for allegedly stealing a backpack.
Image courtesy of Spike.
Browder fought to clear his name until he could not fight any longer. With help from public officials and other media outlets, Spike is picking up where he left off.
Behind an outstanding slate of animation, young children’s programming, and special activations, Nickelodeon locked in 18 nominations for the 2017 Daytime Emmy Awards, a rousing affirmation of the net’s broad impact and influence on the television landscape. MTV’sTransformation, which documents the struggles of young transgender individuals, grabbed an additional nomination, bringing Viacom’s total to 19.
Tim Robinson and Sam Richardson have inherited a once-great Detroit ad agency on Comedy Central’s hilarious new series, Detroiters. Photo from Comedy Central Press.
They crash the steakhouse luncheons of high-flying auto executives. They know the local garbage truck drivers by name. They’ve devised elaborate rituals around bathroom breaks.
They are Detroiters, and they have landed at Comedy Central with a new half-hour show, bringing delighted reviews along with them.
Starring Sam Duvet (Sam Richardson – Richard Splett on Veep) and Tim Cramblin (Tim Robinson – Saturday Night Live), both alumni of the famed Second City comedy club (watch them here), and native Detroiters themselves, the comedy delivers plenty to satisfy critics, fans, and native Michiganders:
1) It’s hilarious
The duo inherited a Detroit advertising business when Tim’s father “went insane.” Their office, bedecked in the drab and lightless décor of some long-ago era, has been emptied of most employees and all major clients, which once included such blue chips as Budweiser and Delta Air Lines.
Despite occasional zealous pursuits of big-name clients, they remain hapless and amusingly frustrated. It often feels as though Sam and Tim are a couple of amped-up teenagers left unsupervised while dad is off for a brief business meeting – in the first episode, the duo is sidetracked from an urgent deadline by an extended experiment to shatter the “unbreakable” glass panel beside Tim’s office door.
Such mishaps are unending. They run over a Chrysler executive on a way to pitch him. Sam is mistaken for a male prostitute – and rolls with it. A shoot promoting a mirror store is botched – because Sam and Tim are reflected in all of the shots. Their film school editor transforms a kitschy hot tub commercial into an art-house meditation on life and middle age and makes their client – Eddie Champagne, the hot tub king of Detroit – look like a creep.
That Sam and Tim remain so rambunctiously unselfconscious throughout these shenanigans, and that they keep trying to win business and remain friends, balances the absurdity with an endearing dimension. “The new Comedy Central series … is also an opportunity for Richardson and Robinson to dive into absurd situations and physical comedy with an admirable lack of inhibition,” writes Vulture’s Jen Chaney. “There is no ridiculous moment whose boundaries can’t be pushed that much further, into even more ridiculous territory.”
Since Demi Moore announced Terminator 2: Judgement Day as Best Movie from a Burbank stage in June of 1992, the MTV Movie Awards have celebrated the best of Hollywood’s explosive, moving, heart-pounding annual slate – with an MTV-appropriate musical touch delivered by the big name performers of the day (that inaugural show included En Vogue, Ugly Kid Joe, and Arrested Development).
“We’re living in a golden age of content, and great storytelling and characters resonate regardless of whether you’re watching it in a theater or on TV,” said MTV President Chris McCarthy. “The new MTV Movie & TV Awards will celebrate even more of the brightest, bravest, funniest and most shared films and TV shows resonating across youth culture.”
On the strength of fearless political commentary and a globally resonant perspective, The Daily Show with Trevor Noah hammered through February with record ratings, wrapping his most-watched and highest-rated month with 1.5 million viewers. International ratings shot up 22 percent.
Even in a crowded late-night talk show space brimming with talent, Noah continues to stand out, recording the only current monthly or quarterly year-over-year ratings increase in both total viewers and in the 18-49 demographic among daily late-night talk shows:
Noah’s ratings have climbed as he offers smart, incisive commentary on a bruising political landscape of fake news and alternative facts, of accusations of mass voter fraud and U.S. immigration bans. His analysis of President Donald Trump’s first week in office has been viewed nearly 5 million times on YouTube alone:
That ratings have increased even as the news cycle accelerates under the Trump Administration is a reflection of The Daily Show staff’s creative tenacity. “Things have definitely sped up,” Daily Show head writer Zhubin Parang told Slate’s Jen Chaney recently. “We used to be able to predict what the show would be the afternoon before the day, and now we just can’t ever assume that the show we have planned at 7 p.m. the night before is going to be anything like the show that’s ultimately going to air the next day.”
While Noah’s commentary frequently critiques Republican policies and actions, part of the show’s appeal is his willingness to engage guests from across the political spectrum. His December conversation with conservative television and online video host Tomi Lahren about Black Lives Matter, the meaning of the American flag, and race relations is the show’s most-watched on YouTube:
Bold conversations like these have helped propel the show’s digital and social engagement as well, with a 42 percent bump in digital views over February 2016 and more than 6 million social actions (likes, shares, comments, reactions, retweets), a best among the daily late night shows.
You can join the social conversation by following The Daily Show on Twitter, Instagram, and Snapchat, and by liking the show’s Facebook page.
As Noah continues on pace toward his best ratings quarter ever, Comedy Central has announced a new edition to its late-night lineup: American and Australian comedian Jim Jefferieswill join the network for a weekly show starting this summer. Here’s a little taste of Jefferies’ acerbic style from a Netflix special he released last year:
The week before Viola Davis became the first black woman to win an Oscar, Tony, and Emmy after winning Best Supporting Actress for her role in Paramount’s Fences at the 89th annual Academy Awards, BET held a special ceremony dedicated to black entertainment.
BET Presents the American Black Film Festival Honors. (Photo by Frazer Harrison/Getty Images)
Last December, Viacom’s UK-based Channel 5 screened a 90-minute documentary, Slum Britain: 50 Years On, which cleverly compared the housing and homeless crisis of today with the situation 50 years ago. It was a powerful piece of television created through a rewarding partnership with housing charity Shelter using unique photographs of the slums commissioned by the organization from the 1960s.
Producers Marcel Mettelsiefen and Stephen Ellis (who incidentally were nominated for an Oscar for their film, Watani: My Homeland, on Syrian refugees in Germany) combined a strong human interest story with a powerful argument, making Slum Britain: 50 Years On essential viewing.
At 90 minutes, with black-and-white visuals and a seriously angry point of view about the conditions many of our fellow citizens endure in 2016 Britain, the project was a risk. The film rated better than we anticipated, with more than 1 million people tuning in for the whole film.
Slum Britain – Images sent to Shelter by Nick Hedges in January 2016 for the 50th anniversary. Nick Hedges was commissioned by Shelter to cover poor housing conditions and abject poverty in the UK between 1968 and 1972. According to a 1965 White Paper, ‘three million families were living in slums, near slums or grossly overcrowded conditions’ in the UK. The Hedges archive is part of the National Photography Collection at the National Media Museum in Bradford.
The reaction from viewers across social media was amazing – I don’t think we’ve ever seen such a powerful, immediate and supportive response.
And not just from viewers. In partnership with Shelter, we had previewed the film and held a discussion chaired by David Mackintosh MP (Member of Parliament), chair of the All Party Parliamentary Group for Ending Homelessness, who has an ongoing campaign to raise the issue of Britain’s housing crisis in the House of Commons.