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The Daily Show reports that Chelsea Handler, Leslie Jones and John Leguizamo will be guest hosts




The end of an era is nearing on Comedy Central’s The Daily Show, and the network has announced at least the first phase of plans for what’s to come.

Following the imminent departure of longtime host Trevor Noah this week, the network reported that comedy legends including Al Franken, Chelsea Handler, D.L. host of the late night show starting on Tuesday, January 17 as part of his “next chapter”.

Comedy Central added that ‘Daily Show’ correspondents and contestants are also “ready to attend, with additional details to be announced later.”

“Moving on to Trevor’s final week, we want to thank him for his many contributions,” Chris McCarthy, president and CEO of Paramount Media Networks, said in a statement from the network.

Trevor has reimagined the show like Jon Stewart before him, and looking to the future, we’re thrilled to be reimagining it once again with the help of this incredible roster of talent and correspondents, as well as the incredibly talented Daily Show team. ”

Noah’s last show will air this Thursday. The network has not yet announced whether the guest hosts will rotate indefinitely or if a permanent single host will be named soon.

The Daily Show airs weekdays at 11:00 pm ET/PT on Comedy Central and is available the next morning on Paramount+.


Lance Reddick, star of ‘The Wire’ and ‘John Wick’, dies at 60



Actor Lance Reddick has died at the age of 60. in accordance with Diversity. A renowned performer, Reddick was known for having a strong presence in supporting roles and was best known for appearing on shows such as The wire another Lost. He also appeared in all the films John Wick Franchise as a concierge at the Continental Charon Hotel. JWickless: Chapter 4 will be released March 24.

Reddick was do press for the upcoming John Wick movie and what scheduled to appear on The Kelly Clarkson Show next weekTMZ reports. He did not attend John Wick: Chapter 4 It premiered in New York on Wednesday, but he posted the video from his home on his social media platforms.

In addition to John Wick TV series, Reddick has also starred in many feature films, including godzilla vs kong another One night in Miami. However, he has made a name for himself by regularly appearing on television, playing key roles in dramas such as The wire another Bosch, like it fringe another Lost, and even such comedies Corporate.

Reddick was a prolific performer who managed to own the screen whenever he was on it; whether he shared scenes with Keanu Reeves or Ian McShane in John Wick movies, Anna Torv in fringe or Wendell Pierce in the wire, he always radiated a special charm that brought smiles to the faces of the audience.

In addition to John Wick: Chapter 4, Reddick will also have posthumous roles in John Wick spin off ballerina, V White people can’t jump remake, and as Zeus in the Disney+ series Percy Jackson and the Olympians

The cause of his death is unknown, but TMZ reports that it “appears” to be natural.

As soon as the news of Reddick’s death hit the social media, reactions from fans and other figures in the entertainment industry immediately rained down.

Evan is a culture editor for Men’s Health and a contributor to The New York Times, MTV News, Brooklyn Magazine, and VICE. He likes weird movies, watches too much TV, and listens to music more than listening.

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ABC’s Drop-Off Series Adds Nancy Lenehan to Cast



Nancy Lenehan has joined Ellie Kemper’s comedy pilot Drop-Off on ABC as a recurring role.

She will play Marianne, the warm, caring and responsible mother of Julia (Kemper) who has been taking care of her children for the past six years. “A working single mother herself, Marianne is not without compassion for Julia’s situation and she loves her grandchildren, but that’s over. Marianne decided from that moment on to live her own life, including having an affair with a guy named Rene and firmly taking time for herself, ”the description of the character reads.

In addition to Kemper, she joins previously announced cast member Judy Greer.

The Landing is an American film adaptation of the popular British comedy Homeland. Diversity exclusively reported adaptation news. The show was previously hosted on Hulu by Lionsgate.

According to the official logline, “Yulia is a working mom who is failing, so she sets out to find her village. With the help of new friends Calvin and Liz, Julia discovers that she can manage to balance work and parenting from time to time. This is a comedy for everyone who dropped their kids off at school, breathed a sigh of relief… and then realized it’s Sunday.”

Most recently, Lenehan starred in A League of Their Own for Amazon Prime. She has also appeared on the HBO Max series Generation, Bless This Mess for ABC, and HBO’s Veep. She also stars in The Boys and Jack Ryan for Amazon Prime. Her other television credits include How I Met Your Mother, My Name Is Earl, Little Britain USA and Worst Week.

Executive producer Kemper along with Sharon Horgan, Clelia Mountford, Stacey Greenberg and Kira Carstensen for Merman Television. Paul Feig, Dan Magnante via Feigco Entertainment. Holly Walsh and Helen Serafinowicz are also executive producers. Michael Showalter serves as executive producer and director. Julianne Smolinski is set to write and executive produce. Lionsgate and ABC Signature are the studios behind the production.

Lenehan represents Pakula/King & Associates and Meghan Schumacher Management.

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Review of the film “From the Inside”: Willem Dafoe’s strange magentism



“Art Forever”. This turn of phrase, uttered by Willem Dafoe’s character Nemo in Vassilis Katsupis’ directorial debut Inside, is a confusing little proverb with many layers of meaning. It rattles in your brain like a pinball, in much the same way that Nemo rattles in the luxury apartment where he’s trapped after an art heist goes wrong.

“Art Forever” speaks volumes about how much we value art, and it’s also a cheeky taunt when Nemo feasts on million-dollar pieces of contemporary art in a wealthy collector’s penthouse. Later, this statement would haunt and even threaten Nemo alone, in an increasingly dire situation of survival, with only art to fuel him.

“Inside” by Ben Hopkins (from the concept of Katsupis) contrasts the most primitive elements of humanity with the most advanced written in order to reveal the contradictory and alienating nature of our present world. An astute cold-blooded camera is filming this wealthy collector’s apartment in Kazakhstan when Nemo bursts in, hacking into the security panel with codes given to him by his partner on the walkie-talkie. Unable to find a specific painting, he is short on time and attempts to escape, but the security system malfunctions and he is trapped inside the apartment, a heavy carved wooden door locking the vault.

It takes a certain suspension of disbelief to believe that there really is no way out. But this highly automated smart home, which plays “Macarena” when the refrigerator is left open for too long and is equipped with a full fire suppression system in case of a fire, is so technologically advanced that it doesn’t even have a phone, computer, or access to the outside. It’s a luxurious prison, a gilded cage filled with priceless works of art, whose value fades away in this agonizing survival situation – after all, art can’t be eaten.

But Katsoupis and Hopkins do not completely undermine the value of artistic expression. Nemo finds himself in this nightmarish quarantine – first adapting, then fighting, literally battling the elements as a buggy home automation system scorches him with heat, then frost. The water is off, and he resorts to collecting it from automatic room sprinklers and licking moisture from the freezer. He dine on caviar before starving to death, turning his hungry eyes on the exotic fish that swim carelessly in their aquarium high in the sky.

It’s The Survivor: Penthouse Apartment and it maps our experience of staying at home in 2020 during the pandemic (watch Nemo pretend to host a cooking show) and explores some of the trauma caused by this technology-enhanced isolation and alienation. which is designed to make our lives more comfortable, but most often divides us.

Nemo’s company consists only of works of art, but his desire for communication and self-expression does not die. He develops a parasocial relationship with the building’s staff on the security monitors, unable to call out to or contact them. He eventually transforms into a sort of primitive man, painting on walls, creating strange altars and structures, developing an almost religious fervor in his isolation.

Katsoupis questions the overvalued value of art by reminding us that self-expression is inherently human and elemental. He is closer to the top of our hierarchy of needs than we might think.

Katsupis asks these leading and provocative questions about humanity, but offers no clear answers or messages. Rather, he lets his muse, Defoe, simply live on this harrowing journey with his strange magnetism and sense of timelessness, in a performance that is both primitive and transcendent. Nemo becomes a figure straight out of Greek mythology, reckoning with the forces of creation and destruction, but it’s not clear if he is Sisyphus, Prometheus, or perhaps even Icarus.

Walsh is a film critic for the Tribune News Service.


Rating: R, for profanity, some sexual content and nudity.

Duration: 1 hour 45 minutes

plays: Start March 17th in general release

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