Stephen Colbert puts a disturbing Trump spin on ‘Hi Stranger’ viral video

“Some people have said this is the most disturbing cartoon they’ve ever seen,” he said of Lepore’s creation. “Hi, stranger,” the figure says calmly. I’ve missed you.”
For many viewers, it’s hard to imagine anything more unnerving than the enigmatic   clip (created by artist   Kirsten Lepore), but   Stephen Colbert did just that   on Friday’s episode of The Late Show. Watch it below, if you dare. ET on CBS. Hi Stranger. “It’s been a while. Do you watch The Late Show with Stephen Colbert? #LSSC
— The Late Show (@colbertlateshow) April 1, 2017

The Late Show airs weeknights at 11:35 p.m. “Well, we here at The Late Show took that as a challenge.”
Putting a political spin on the video, Colbert presented an   animated President Trump — sporting red Make America Great Again briefs and a Putin lower-back tattoo —   cooing about his health care bill. One of the stranger videos to go viral in recent memory   is the stop-motion animation known as “Hi Stranger,”   which depicts a pale, naked humanoid lying on its stomach and whispering sweet nothings directly into the camera. It's ok, you can look… Tune in tonight at 11:25/10:35c! Show Full Article

‘Blue Bloods’ EP celebrates 150th episode: ‘I wanted it to be like the greatest hits’

He still has a light enough touch and a certain amount of personal charm and magnetism, but he can also bring the gravity and the dilemma. I don’t know how many worms come out kind of thing. What I want to do is keep doing a version of what we’re doing, which is to get stories out of research rather than headlines and to build in such a way that our main characters have to deal with those stories and dilemmas, have to look in the mirror and go, “Yes, this person is guilty. That’s something in our culture that gets criticized if you do certain things for a living. We did at the 100th because that was another milestone. If you’re a playwright or a screenwriter, you can always stand in the back of the house, make sure they’re laughing in the right places. I wish it was more black and white.” Or, “Yes, this person is wrong, and I wish he didn’t have elements of right in being wrong.”
READ: Blue Bloods boss: It’s harder now to tell stories about good cops
That’s really what we look for, things that end up being scenes for our actors to really sink their teeth into. I can’t call it a civil rights violation, though I’ve seen those, but instead a violation that basically says your sell by date is up and that ain’t fair.” Also, addressing the idea that 63 now is not what it was 50 years ago, that we try to get better and better. That’s how I move forward every day. That idea of doing the 12 steps and going back to try to undo perhaps something you’d done wrong as a cop is both a noble thing and… you open up this can of worms. For these guys, I think they think of it as “That’s what I do. We were renewed. The two people they were looking for stepped onto the elevator and everybody drew their gun. It was really just trying to put together the best episode we could. It kind of had those elements going. There’s something inherent in the mechanics of the story that certainly Danny Reagan has done, which is to color a little bit outside the lines in terms of the process of an arrest and a booking. They got in the elevator, and it stopped two floors down, and they still had mug shots out. He’ll deny things to his family, to his co-workers, and that’s what he does in this. What did Isaiah bring to that role of somebody basically being pushed out, and why was he the perfect fit? There are a couple of things. That’s one thing we save for those, so I wasn’t going to do that, yet I wrote a role opposite Tom that I hoped would attract a really terrific guest star, and we got one in Isaiah Washington. So I wanted Danny to walk a line in as many of the scenes as possible where he basically could be saying to himself, “There but for the grace of God go I.”
Back to the 150th milestone, what does it mean to you to hit this big number? Blue Bloods airs on Fridays at 10 p.m. The cast and I sat in the back two rows and watched, and it was one of those moments that was great because we got to do that thing that you get into this business to do, which is to entertain people and see them entertained by what you do. Hopefully nobody is walking up the aisle and leaving, but we never get to see that. on CBS. Here to unpack all that and reflect on making it to the big 1-5-0 is showrunner and executive producer Kevin Wade, who wrote the episode. True story. I have no idea when he’ll retire, and he’s got a wonderful tool in his belt, which is basically he’ll deny things. Last Monday night, at the 92nd Street Y, they held a screening of this episode for a ticket-buying audience of rabid Blue Bloods fans. Show Full Article It starts there   because after a certain point the stories are less important, I think, to the audience. When the other detective says well look, she had a mole, and when we showed the photo array I forgot to ink in moles on the other six pictures we were showing the witness. I tried to harvest them all. I don’t think the audience for Blue Bloods goes away going, “What a great car crash that was” or “What a vicious thug that cartel head was.” It’s really, “Oh, when Danny reacted that way” or :When Frank said such and such and walked out of the room.”
Absolutely, but the elevator shooting was very intense. That happens all the time. E.T. I don’t have a hobby that I’m dying to take off and just do.”

Speaking of family, what did you want to explore and how did you want to challenge Danny as he investigated the ex-NYPD officer who disappears? ENTERTAINMENT WEEKLY: How did you approach this big episode as a writer and showrunner, and what did you want to accomplish on a narrative and character level? It’s their avocation. Right. He’ll basically say, “Yeah, you’re trying to read me, and I’m not going to let you.”
It’s interesting, though, when he and his family talk about what retirement might be like at dinner. Spoiler alert! Can you expand on how this affects him, and do you have any idea when he’ll retire? I haven’t lost a step. It was his first time with us on the show, and he did a great job as the chief of the emergency services unit who is facing the mandatory retirement that hits for every cop on the eve of their 63rd birthday. In the finale, a character who’s been with us for a long time, there’s a straw that breaks that camel’s back, and that character bows out of his life in our fictional world of Blue Bloods. So, for all of us sitting back there, watching them laugh, lean forward, all of a sudden go dead quiet was just great. It’s their self-definition. A couple of detectives canvassed a building that had been the victim of a lot of push-in robberies. It was always going to be directed by our producer-director Dave Barrett, who’s done such a great job for so many years. Why am I being shown the bone yard?” — what we try to do is a story and a dilemma that reflects back on our characters and what they go through, and certainly for Tom Selleck’s Frank Reagan. In this 150th, we kind of looked up at the scoreboard a little bit. I think there’s a larger section of the population that isn’t dying to get the gold watch and start playing golf every day when they hit their early sixties, so for this character — who would advocate for himself and say, “Listen, I’m at the top of my game. KEVIN WADE: I wanted it to be like the greatest hits of Blue Bloods in that it would have a compelling story for Tom’s character. It’s not necessarily malice or forethought. When he asks that to Danny, Danny doesn’t really answer. He’s [asking], “What do I do after I give up the thing that I’ve done and loved every day?”
This gives Frank a ton to think about. It’s just, I forgot to do this stupid thing, but does that mean the entire crime should be white-washed because of one little mistake on my part? What can you say about what’s ahead for the rest of season 7, the finale in particular? We started talking about it in terms of let’s talk about it when we’re done with season 7 [laughs]. Have you started talking about season 8   yet, or is that a ways away? Jim Nuciforo [the show’s technical adviser, who shares a story credit with Wade on the episode] recounted that. It would have a little bit of a twisty mystery for Donnie’s character and a little bit of…humor, which ended up in the hands of Will Estes and Vanessa Ray. If you do other things, it gets glorified. The season finale isn’t that far off (airing May 5), so how did you make this a compelling, standout episode, while still saving some for that big finish to the season? Everybody’s kind of out of gas as we get to the 22nd episode, but lots of thoughts about putting characters in new situations, bringing in new characters. Danny (Donnie Wahlberg), meanwhile, investigated the disappearance of an ex-NYPD officer who had planned to do right by   the woman she and her partner had wrongfully convicted years back. The role itself was a black American man saying, “This mandatory retirement feels like a violation. I think for all those characters, and for better or for worse, this show is about a tribe whose job is also their hobby. If you work in this kind of television, you never get to see that. At the same time, it wasn’t a season finale or a season opener, so it wasn’t going to be a big-scale, big-budget thing. Usually, the season opener and season finale have something to do with either the introduction or exit of a recurring character. When you look back on everything, what are some of your favorite moments, onscreen or off? We’ll start getting up to speed soon, but first, everybody needs to lie on a beach for a couple days. In the case of the victim cop in this, who ends up in the East River, the pressures of the job got to the point where she had to leave the job because of pills and drinking. It goes so fast in the sense that the nine-and-a-half months we’re doing this out of every year, we really don’t stop. Details from Friday’s episode of Blue Bloods follow…
Blue Bloods just hit a milestone—its 150th episode with Friday’s “A Deep Blue Goodbye,” which saw Frank (Tom Selleck) grapple with a peer: Chief Taylor Daniels (Isaiah Washington), who refused to retire despite having reached the age limit of 63. We don’t get to watch 14 million people watch the show and react to it, so it was one of those rare moments where we went, “Oh, they reacted the way we hoped they would.”
You’ve covered a lot in seven seasons, but what would you like to do on the show that you haven’t done already? He was the perfect fit because he’s a really good actor, and he brings a strength and dignity that doesn’t get buried. CBS picked up a number of shows.

‘Sleepy Hollow’ EP breaks down Crane’s big choice

I thought the actress who played the president did a great job, so we would love to have her come back, but I think it’s more about giving them a new, more official role. He’s already registered to vote. He’s just lovely. citizenship. He came out of the ground with no one and no idea about how this modern world works and what his place in it would be. I worked really closely with our producing director Russell Fine, who directed this episode. To place him into a family that he felt comfortable with and into a role that he felt comfortable with. For Crane to realize that the one thing they do connect about is that ideal — if you think about Henry in season 2, Henry killed Moloch because he didn’t want anyone lording over him, and he didn’t want to be part of having Moloch push him around. He’s a man out of time. I love the character and the world around him, and I really hope it does continue. Only on Sleepy Hollow could a deal with the devil feel a little bit like closure. If the show goes forward, could we see Henry again? And we love working with John Noble. And give him his citizenship as an American citizen, which we thought would be really powerful for him and something he never had and always wanted. And you know Jenny and Diana would absolutely now be officially a part of it, and Jake [Jerry MacKinnon] and Alex [Rachel Melvin] would continue on. How’s he going to get out of this one? Originally, Corey Castellano, he’s our makeup master — we were going to do maggots and spiders crawling out of his face, and then he built that beautiful cracked face piece to put on our amazing actor. And Crane’s triumph, and the team’s triumph, in defeating Dreyfuss is a triumph for freedom over tyranny. Can you talk about that contrast between sacrificing your freedom out of hatred and sacrificing it out of love? So I pitched him this idea of: How about we do a scene where we’re in two places at once? If this does turn out to be the end, what do you want fans to take from this finale? Will she play a big role if the show continues? It’s Tuesday.” Like, “I can deal with it.” If this is the final episode, I think Crane’s attitude about it is enough that I think fans would trust that he would find his way out of it. He’s become an American citizen. Then I had this idea, because this devil is the one that Malcolm Dreyfuss made the deal with, I said to Russell, “Maybe we should be in a more corporate world. Even from the inception of the episode, he and I had many conversations, and I was able to go out there with him for the entirety of shooting. He found friends and people who were incredibly important to him. RAVEN METZNER: You know, we all were looking for a way to have this character who we know and love come to solid ground. But if not, I hope that everyone knows that Crane is in a really good place. Where we’re seeing both Lara’s hell and Crane’s hell? And by saving the president, he earned himself an express ticket to U.S. But while the future looks bright for the Vault — which can now officially count Crane, Diana, and Jenny (Lyndie Greenwood) among its ranks — there is one thing Crane hasn’t mentioned. First and foremost, there’s Malcolm Dreyfuss’ desire to rule through tyranny and his belief that as a corporate head, he knows what’s best and he can decide people’s fates. Let me send you a picture.” He sent me a picture — literally you see the angle in the show of that elevator coming down with the lights, and he’s like, “I think this is hell”… The idea of that sort of half-burned face, that was an idea I had where I just loved the idea of the devil being put together and handsome and classy, and then he turns around and he’s got this demonic hidden side. That last bit of dialogue was something we talked about a lot, and actually [executive producer] Albert Kim pitched that little run there, which I really love, which is the idea that, you know, “Sold my soul? The question of the Washington letter and what that meant, the fact that he’s had his life rocked in losing the person he cared about more than anyone in the world, the fact that he sort of had lost his family along the way — these were all things that were challenges, and we wanted to find a way to solve some of those things for him, or at least start to solve them. It’s just a little thing: He promised his soul to the devil. Crane even talked Henry (John Noble) into standing down from the fight. The larger piece that’s interesting that you just brought up, about how Crane has just taken on this deal in which his soul is owed to someone — he sort of has a lien placed on him, so the devil, or the devil we’ve met, hasn’t taken his soul yet. At the same time, we have this personal drama between Crane and Henry that’s introduced at the top of the episode in their duel… They’ve failed to connect on so many other levels. He’s long been searching for a place in the modern world. EW caught up with executive producer Raven Metzner, who wrote the episode, to talk about Crane’s sacrifice, what happens next, and what fans can take from this finale if Sleepy Hollow — which has yet to be renewed for a fifth season — ends here. So it sets up a paradigm of a more official use of our team in going after [the supernatural] with the help of the U.S. Also in season 2, he tried to create a free nation of witches because he believed they needed to be free. And he called me one day like, “I have a different idea. government. I think there are many, many, many stories yet to be told. Because we had the Dreyfuss character all the way through, we thought it would be interesting to mirror them and give Crane a similar conundrum. ENTERTAINMENT WEEKLY: Crane literally sold his soul to the devil! Crane has always been a voice for democracy and for the idea of personal freedom and a country that is built on the ideals of freedom, so their battle of wills through the season has been about that. And we shot the same scene in two different locations, and he did this brilliant job of literally placing the cameras in exactly the same positions on two totally different takes in different places so we could match it, which I thought was amazing. We would definitely find ways to twist that and turn that. In happier news, the Vault saved the president. I saw a couple of the influences — you quote Dante; Crane mentions Sartre — but how did you come up with what hell would look like in the world of Sleepy Hollow? I really hope that fans see that and that they are happy with it and that they feel like his journey has come to a positive place of fruition. Like you come into some office and it’s the devil’s office.” Jobe was always dressing so nicely, it just made sense to me. If it’s not, and we get more seasons to tell this story, then I think it’s a great problem to be played out. Yeah, the theme of freedom running through [the episode] came from a lot of different sides. He’s seen the worst version of what it can do to someone; now he’s got to figure his way out. In a trip to hell, in an effort to bargain for the Philosopher’s Stone that would allow them to circumvent Dreyfuss’ immortality, Crane offered himself to balance the scales. He has found a family and created a family around himself that includes pieces of the world he’s known and people who have really mattered to him, and he’s made these new connections in Diana and Molly [Oona Yaffe] and Jake and Alex. It’s more that he knows he’ll have to find a way to defeat this bargain he’s made before the day he dies. Show Full Article Oh, that’s actually a really nice way to put it. But we also wanted to give him a challenge that, if we were to get subsequent seasons, would present an interesting problem. It’s a soul that is due on the day that he dies, so he still has his soul, he still has his freedom. So I think Crane recognizes that that’s their commonality. With Henry, Crane makes this grand speech about how freedom is the most important thing, but now Crane is, in a way, not free. He partnered with Abbie Mills and met her sister and her extended family and friends and over the course of the seasons, he blossomed and learned his place was in the world, in this modern world. I had this idea in my head, sort of the Sartre thing — not just that hell is people, but that everyone would see hell differently. I hope they look at it as Crane has, which is that he’s come a very long way in the course of the series. Oh yeah, absolutely. The fourth season of Fox’s supernatural drama wrapped up Friday with an hour that put a lot right: Crane (Tom Mison), Diana (Janina Gavankar), and Lara (Seychelle Gabriel) found a way to kill the unkillable Dreyfuss (Jeremy Davies) and stop the Horsemen. As the devil (played deliciously in this episode by Terrence Mann) is so fond of repeating, a contract is a contract, but Crane still seems surprisingly calm about the whole arrangement. The moment he has with Diana where they’re walking toward us with this determined step — I hope that fans take that with them as a positive moment that either will be built on or is a great place to leave the series. The idea is that as the show goes forward, there’s a new paradigm, which is: Crane has now officially realized the hope that both Washington and Benjamin Banneker had for him that he would one day be a part of the Vault. I mean, that was another big hope of ours in having him walk off as he does: He remains. This episode has a really distinct concept of hell. By the end of this episode, it was really important to us that regardless of whatever other plot issues might await him, he really has found a place in the world.

‘Chicago P.D.’ co-creator Matt Olmstead to step down as showrunner

alongside Dick Wolf. As the franchise has continued to expand, adding Chicago Med and Chicago Law, Olmstead has become an executive producer on all four series. Show Full Article as co-creator and showrunner. Deadline first reported the news. Now in its fourth season, Olmstead has been with the series from the beginning, co-creating P.D. While Wolf is the head of the Chicago   empire, Olmstead has been an integral part since the start. Chicago P.D. The squad is losing its leader. co-creator Matt Olmstead is stepping down as showrunner, EW has confirmed. NBC declined to comment. After serving as showrunner on the first season of Chicago Fire, he   shepherded the initial spin-off P.D. Before his time with   Chicago, Olmstead was a long-time writer on NYPD Blue and Prison Break, as well as co-creator of A&E’s   Breakout Kings.

‘Grimm’ series finale: EPs explain Nick’s impossible choice

That’s not a specific Grimm fairy tale, but it’s something that kept coming back to haunt us, and we finally did do it. We wanted to end on that book, on the Grimm book, because of the Brothers Grimm fairy tales. What happens a year after the happy ending and it wasn’t very happy or pretty? Probably multilingual. JIM KOUF: The power of the stick went back into the staff of Moses, which supposedly had all sorts of magical powers: It parted the Red Sea, it turned into a snake, all these things which we knew from religious mythology. … That tree character this very year [the   Jubokko   from Japanese folklore] was something that we had tried to tackle for many years. And also to have a city and be able to tell urban stories, we had to have that connection between urban and country. Portland was a perfect place, and they had a great crew. GREENWALT: Hugely. Does this mean Team Grimm finally digitized all that lore? [But] I think we dealt with most of them. Is there a particular fairy tale you wanted to put the Grimm twist on but weren’t able to for one reason or another? You spent six seasons creating this world, and now many of your fans are reluctant to say goodbye. Although he was tempted to turn the stick over to the Zerstörer, Nick resisted and, with the help of Trubel (Jacqueline Toboni) and a surprise assist from his late mother Kelly (Mary Elizabeth Mastrantonio) and aunt Marie (Kate Burton), he saved the world and the people he loves. It’s all in the cloud now. In religious mythology, there also is life from death, so we felt that was apropos for what we were doing. Is that why you chose to focus on grown-up Kelly and Diana in the flash-forward? We see that this has gone forward, this gift has been passed on to a new generation. RELATED: See the Creation of a   Grimm Monster
The last 13   episodes featured several flashbacks. They’re bringing it up to speed. After six seasons fighting fairy tale monsters with help from his friends, family, and an occasional enemy, Nick (David Giuntoli) defeated the ultimate evil and, in so doing, resurrected the friends, family, and maybe-no-longer enemy who fell in the final battle. How did the city’s character influence the stories you told? KOUF: (Laughs.) Probably. But we also really wanted someone to tell us, “This is not a myth, a legend, or a fairy tale. I don’t think we left any out that we wanted to do. And that was really the theme, his deepening purpose as a post-modern Grimm. GREENWALT: Absolutely. KOUF: And we went full circle not only all the way back to the beginning, but 20   years into the future. EW spoke with showrunners David Greenwalt and Jim Kouf to discuss why they took Nick to the brink in the final two episodes and what the post-modern Grimm might look   like. And Portland was all-embracing, and such a great character in the show. We wrote it for Portland in the very beginning. It went back to before   so he [the Zerstörer] would have no impact. GREENWALT: One of my favorites, just in terms of ideas, was Cinderella a year later. Do you have more stories in the Grimm universe that you’d like to tell in one form or another? And also, it’s very much like the Black Forest, where so much of our mythology sprung from. KOUF: We couldn’t have done it anywhere else. ENTERTAINMENT WEEKLY: You worked on Angel and   Buffy the Vampire Slayer, both of which were notorious for their lethal finales. This really happened.” And it seemed like the person to say that would be his son: “Because my father told me so.” And it also wrapped up the whole blood-of-your-ancestors-and-strength-of-your-family thing, as well. But then kind of mystically, and kind of not mystically, his ancestors appeared to him, and he found a deeper strength than he even knew he had. GREENWALT: We fell in love with that city, and we were beloved there, as well, because obviously we brought a lot of money to the city. We were searching far and wide there at the end for stories that we hadn’t told. Show Full Article We explored a lot of different myths, fairy tales, legends. Warning: This story contains major   spoilers from Friday’s series finale of   Grimm. Is it safe to assume that their parents enrolled them in German classes, for their own good? We knew that we had to have forests, lakes, rivers, and the ability to get there within the shooting zone. You know, New York and L.A. KOUF: I think we tackled just about everything we wanted to. Read at your own risk! Last question: I couldn’t help noticing the computer in that last scene of the finale. GREENWALT: (Laughs.) I think it’s a reminder of the full circle of this, from where we started and the beginning of the relationships. DAVID GREENWALT: The point was not to have a lethal ending or a happily-ever-after ending, the point was to take Nick to the lowest possible point he could be, where he thought he could not possibly dig any deeper inside. KOUF:   Kelly and Diana? GREENWALT: That’s always a possibility. are very sophisticated about filmmaking; sometimes the guy won’t turn off his lawnmower unless you throw him $50. We felt that once evil had been defeated, that it was a reset. If you can defeat evil and take the power from him, then it was a reset to before   he came in. It’s coming back. It seemed fun to do it that way. Portland was almost as much a character in Grimm as the humans (and Wesen and Hexenbiests). Why was it important for everyone on Grimm to get a happily ever after? Other than showcasing everyone’s baby faces, how did that help you tell the story you wanted to tell this season? GREENWALT: Esperanto. And he was willing to give up the world so that he could have his loved ones, as anyone would do in that position. You can just put the camera anywhere, whether you’re in the city or country there. We’re right back to where we started in the very first episode, and what seemed like a dangerous place suddenly seemed like a safe place, but it wasn’t. You know, there could be a spinoff, but you never know with that kind of thing. Oh, sure. Our actors all put down roots there, raised a lot of money for the children’s hospital there.

Watch star-studded ACLU benefit live

The order is currently blocked by the courts. Watch the benefit below and to donate, go here. Some of Hollywood’s biggest names are currently joining forces in New York City to raise money for the ACLU. Stand for Rights: A Benefit for the ACLU is airing live Friday night, with Tom Hanks, Tina Fey, Alec Baldwin, Tracy Morgan, Amy Poehler, Uzo Aduba, Ike Barinholtz, and Jon Hamm among the celebrities taking part. The hope of the benefit is to raise awareness and donations for the non-profit organization devoted to protecting and preserving people’s rights. The ACLU has become a key player in the opposition to President Trump’s executive orders on immigration, which have sought to ban immigrants from seven Muslim-majority countries as well as temporarily halting all refugee admissions. Show Full Article

‘Aquaman’ writer Will Beall to pen ‘Creature From the Black Lagoon’

Will Beall has been enlisted to pen   a reimagining of   Creature From the Black Lagoon for Universal Pictures as part of the studio’s burgeoning franchise based on classic movie monsters, EW has confirmed. The screenwriter of Aquaman is ready to submerge himself in another shared   cinematic universe. Jekyll. Prior to his writing career, he worked as a detective for the Los Angeles Police Department. Beall’s previous   screen credits include Gangster Squad and the TV series Castle and Training Day. Deadline Hollywood first reported the news. Show Full Article While offering an updated take on the 1954 creature feature about an   amphibious humanoid that   terrorizes a science expedition in the Amazon, the new Black Lagoon would also be set within the larger   world of   Universal’s upcoming Mummy reboot and planned Invisible Man film. Chris Morgan and Alex Kurtzman are overseeing Universal’s monster universe, which is also expected to revive such classic characters as Frankenstein’s monster, Dracula, and Dr.