Steve Pond's Blog, page 2016
January 10, 2020
No White House Press Briefings in 301 Days – Former Press Secretaries Call for Change
Thirteen former White House press secretaries, foreign service and military officials penned an open letter posted on CNN.com Friday, calling for the return of regular press briefings.
Although the current White House press secretary, Stephanie Grisham, can regularly be seen on Fox News, she hasn’t held a formal White House briefing since March 15, 2019 – that’s 301 days and counting.
“Yes, your taxpayer dollars are indeed paying Miss Grisham to avoid you, ironically, like it’s her job,” CNN’s Anderson Cooper said in his commentary The RidicuList.
The letter says in part: “A well-informed citizenry would be better equipped to understand the difficult choices and decisions presidents must make, especially in times of crisis and challenge. Bringing the American people in on the process, early and often, makes for better democracy.”
It goes on to conclude, “We respectfully urge the resumption of regular press briefings across our government, especially in the places where Americans want the truth, our allies in the world want information, and where all of us, hopefully, want to see American values reflected.”
The letter is signed by those who have served both Democratic and Republican administrations, including George W. Bush’s W.H. press secretary Scott McClellan and Bill Clinton’s former press secretary Dee Dee Myers.
“If a president were to escalate potential danger to U.S. interest overseas by killing a high-ranking Iranian general, you might think the White House press secretary would head to the podium to keep the country and the world abreast of what’s going on to try to fill in some gaps between the president’s Twitter threats,” Cooper went on to say. “But that isn’t happening anymore, and it hasn’t for 301 days.”
Also Read: White House Press Secretary Defends Trump Calling Opponents 'Human Scum': They 'Are Just That'
Read the letter in full below:
All of us have experienced the challenges of a regular press briefing whether at the White House, the State Department or the Pentagon. We all had days where the last place we wanted to be was behind one of those podiums. But day after day, we persisted.
We believed that regular briefings were good for the American people, important for the administrations we served, and critical for the governing of our great country.
We’d like to share what we mean by that. In any great democracy, an informed public strengthens the nation. The public has a right to know what its government is doing, and the government has a duty to explain what it is doing.
For the president and the administration this is a matter of both self-interest and national interest. The presidents we served believed a better-informed public would be more supportive of the president’s policy and political objectives.
And a well-informed citizenry would be better equipped to understand the difficult choices and decisions presidents must make, especially in times of crisis and challenge. Bringing the American people in on the process, early and often, makes for better democracy.
An informed press corps strengthens our ability to govern. Yes, presidents are now able to communicate directly via the internet, social media and tweets. But most Americans will learn about the work of the White House in the reports they see, read, and hear in what we collectively call “the press.”
The press will report a story to the best of their ability whether they are briefed by the administration or not. But regular briefings generally lead to better and more responsible reporting.
The process of preparing for regular briefings makes the government run better. The sharing of information, known as official guidance, among government officials and agencies helps ensure that an administration speaks with one voice, telling one story, however compelling it might be.
Regular briefings also force a certain discipline on government decision making. Knowing there are briefings scheduled is a powerful incentive for administration officials to complete a policy process on time. Put another way, no presidents want their briefers to say, day after day, we haven’t figured that one out yet.
In times of military conflict and international crisis, these briefings take on even more importance. Americans want to know the latest developments and seek the truth. On social media, wild rumors can fly, and our adversaries can manipulate disinformation to their advantage. This is now well documented.
For that reason, among many, the country needs trusted sources of information delivered on a timely and regular schedule. That is the fundamental responsibility of people who serve as spokesmen and women for presidents, cabinet secretaries and other high-ranking government officials.
These briefings also have the great benefit of communicating among our soldiers and diplomats around the world who are hungry for information. Talk to any military family here at home or a family with diplomats serving overseas and they will tell you how much their loved ones rely on regular information, whether the news is good or bad.
Using the powerful podiums of the State Department, Pentagon and White House is a powerful tool for keeping our allies informed and letting our enemies know we are united in our determination to defeat them both on the battlefield and in the world of public diplomacy.
The media world has changed radically since the last major war in the Middle East. We have many more tools of public diplomacy to demonstrate our military resolve both at home and abroad. But as powerful as those new tools are, they do not bring the same force of power, both soft and hard, that officials of the United States government need.
Credible men and women, standing in front of those iconic backgrounds at the White House, State Department and Pentagon, are essential to the work the United States must do in the world.
We respectfully urge the resumption of regular press briefings across our government, especially in the places where Americans want the truth, our allies in the world want information, and where all of us, hopefully, want to see American values reflected.
Signed,
Ambassador Richard Boucher, former spokesman and Assistant Secretary of State (administrations of George H. W. Bush, Bill Clinton and George W. Bush)
Ambassador Nicholas Burns, former State Department spokesman (George H.W. Bush, Bill Clinton, George W. Bush)
Jay Carney, former White House press secretary (Barack Obama)
Victoria Clarke, Assistant Secretary of Defense for public affairs (George W. Bush)
Robert Gibbs, former White House press secretary (Barack Obama)
Adm. John Kirby, former Assistant Secretary of State, former Pentagon press secretary (Barack Obama); Kirby is a CNN analyst.
Joe Lockhart, former White House press secretary (Bill Clinton); Lockhart is a CNN political commentator.
George Little, former Assistant to the Secretary of Defense for public affairs (Barack Obama)
Scott McClellan, former White House press secretary (George W. Bush)
Michael McCurry, former White House press secretary and State Department spokesman (Bill Clinton)
Dee Dee Myers, former White House press secretary (Bill Clinton)
Jen Psaki, former State Department spokeswoman and White House communications director (Barack Obama); Psaki is a CNN political commentator.
Jake Siewert, former White House press secretary (Bill Clinton)
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‘Game of Thrones,’ ‘Watchmen’ Lead Directors Guild TV Series Nominations
The Directors Guild of America announced additional DGA Awards nominations in the comedy and drama series categories on Friday, with “Watchmen,” “Game of Thrones” and Amazon’s “The Marvelous Mrs. Maisel” leading the pack.
Other nominees include HBO’s “Barry,” “Succession” and “Veep,” as well as ABC’s “Live in Front of a Studio Audience” and a trio of Netflix comedy specials.
On Monday, the guild announced its nominees in the limited series, reality programming and commercial categories, as well as a number of others. Among the nominees were FX’s “Fosse/Verdon,” Netflix’s “When They See Us,” the “Breaking Bad” prequel “El Camino.”
Winners will be announced at the 72nd Annual DGA Awards on Saturday, Jan. 25 at the Ritz-Carlton Hotel in Downtown Los Angeles.
Also Read: Directors Guild's TV Nominations Include 'Fosse/Verdon,' 'When They See Us,' 'El Camino'
See the new nominations below and the rest of the TV categories here.
DRAMATIC SERIES
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Dramatic Series for 2019 are (in alphabetical order):
NICOLE KASSELL
Watchmen, “It’s Summer and We’re Running Out of Ice” (HBO)
Ms. Kassell’s Directorial Team:
Unit Production Managers: Karen Wacker, Ron Schmidt, Joseph E. Iberti
First Assistant Director: Keri Bruno
Second Assistant Directors: Lisa Zugschwerdt, Ben White
Second Second Assistant Director: Jessie Sasser White
MARK MYLOD
Succession, “This Is Not For Tears” (HBO)
Mr. Mylod’s Directorial Team:
Unit Production Managers: Tyson Bidner, Gabrielle Mahon
First Assistant Director: Christo Morse
Second Assistant Director: Michelle Flevotomas
Second Second Assistant Director: Nicholas Notte
DAVID NUTTER
Game of Thrones, “The Last of the Starks” (HBO)
MIGUEL SAPOCHNIK
Game of Thrones, “The Long Night” (HBO)
STEPHEN WILLIAMS
Watchmen, “This Extraordinary Being” (HBO)
Mr. Williams’s Directorial Team:
Unit Production Managers: Karen Wacker, Ron Schmidt, Joseph E. Iberti
First Assistant Director: Kayse Goodell
Second Assistant Director: Ben White
***
COMEDY SERIES
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Comedy Series for 2019 are (in alphabetical order):
DAN ATTIAS
The Marvelous Mrs. Maisel, “It’s the Sixties, Man!” (Prime Video)
Mr. Attias’s Directorial Team:
Unit Production Managers: Dhana Rivera Gilbert, Nadia Paine (Oklahoma Unit)
First Assistant Directors: Jesse Nye, Steve Love (Oklahoma Unit)
Second Assistant Directors: Natasha Rivera, Jason Inman (Oklahoma Unit)
Assistant Unit Production Manager: Meghan K. Wicker
Second Second Assistant Director: Lincoln Major
Location Managers: Amanda Burbank, Jose Guerrero, Nick Thomason
BILL HADER
Barry, “ronny/lily” (HBO)
Mr. Hader’s Directorial Team:
Unit Production Manager: Aida Rodgers
First Assistant Director: Gavin Kleintop
Second Assistant Director: Kevin Zelman
Second Second Assistant Director: Heather Kehayas
Additional Second Assistant Director: Mikaela Mathern
DAVID MANDEL
Veep, “Veep” (HBO)
Mr. Mandel’s Directorial Team:
Unit Production Manager: David Hyman
First Assistant Director: Jeff Rosenberg
Second Assistant Director: Emily Hogan
Second Second Assistant Directors: Ismael Jimenez, Chalis Romero
Additional Second Assistant Directors: Phil Banks, Zach Davenport, Alexis Dvorak, Phil Goodrich, Christina Lee, Emily Neumann
AMY SHERMAN PALLADINO
The Marvelous Mrs. Maisel, “It’s Comedy or Cabbage” (Prime Video)
Ms. Sherman Palladino’s Directorial Team:
Unit Production Managers: Dhana Rivera Gilbert, Nadia Paine
First Assistant Director: Mariela Comitini
Second Assistant Director: Luca Waldman
Assistant Unit Production Manager: Meghan K. Wicker
Second Second Assistant Director: Lincoln Major
Location Managers: Amanda Burbank, Jose Guerrero, Nick Thomason,
DANIEL PALLADINO
The Marvelous Mrs. Maisel, “Marvelous Radio” (Prime Video)
Mr. Palladino’s Directorial Team:
Unit Production Manager: Dhana Rivera Gilbert
First Assistant Director: Jesse Nye
Second Assistant Director: Natasha Rivera
Assistant Unit Production Manager: Meghan K. Wicker
Second Second Assistant Director: Lincoln Major
Location Managers: Amanda Burbank, Jose Guerrero, Nick Thomason
***
VARIETY/TALK/NEWS/SPORTS – SPECIALS
The nominees for the Directors Guild of America Award for Outstanding Directorial Achievement in Variety/Talk/News/Sports – Specials for 2019 are (in alphabetical order):
JAMES BURROWS (‘All in the Family’ and ‘The Jeffersons’ – Directed by)
ANDY FISHER (‘Live in Front of a Studio Audience’ – Directed by)
Live in Front of a Studio Audience Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’ (ABC)
Directorial Team:
Associate Directors: Martin Pasetta Jr., Sara Niimi
Stage Managers: John Esposito, Valdez Flagg, Alissa Levisohn Hoyo, Harvey Levine, Doug Tobin, Richard Silva, Jenny Nolan Bailey
SPIKE JONZE
Aziz Ansari: Right Now (Netflix)
Mr. Jonze’s Directorial Team:
Associate Director: Chad Richard Nicholson
Stage Manager: Tate Nova
STAN LATHAN
Dave Chappelle: Sticks & Stones (Netflix)
Mr. Lathan’s Directorial Team:
Associate Director: Myriam Leger
Stage Manager: Valdez Flagg
LINDA MENDOZA
Wanda Sykes: Not Normal (Netflix)
Ms. Mendoza’s Directorial Team:
Stage Manager: Arthur Lewis
GLENN WEISS
The 91st Annual Academy Awards (ABC)
Mr. Weiss’s Directorial Team:
Associate Directors: Ken Diego, Eve Adair, Susan Kopensky, Lori Margules, Robin Mishkin Abrams, Sara Niimi, Michael Polito
Stage Managers: Gary Natoli, Rita Cossette, John Esposito, Valdez Flagg, Doug Fogel, Chris Hines, Alissa Levisohn Hoyo, Arthur Lewis, Roxanne Lozano, Ron Paul, Tammy Raab, Jason Seligman, Jackie Stathis, Cheryl Teetzel-Moore, Debbie Williams, Ari Woog
Related stories from TheWrap:
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CNN to Pay Record $76 Million in Settlement With National Labor Relations Board
CNN has agreed to a settlement worth $76 million with the National Labor Relations Board, in a backpay dispute battle involving union workers that had been going on since 2003.
The $76 million is the largest monetary remedy in the history of the National Labor Relations Board. The backpay amount, larger than what the Agency collects on average in a typical year, is expected to benefit over 300 individuals.
“The settlement demonstrates the Board’s continued commitment to enforcing the law and ensuring employees who were treated unfairly obtain the monetary relief ordered by the Board,” General Counsel Peter B. Robb said. A representative for CNN did not immediately respond to TheWrap’s request for comment.
Also Read: CNN Settles Defamation Lawsuit With Covington Student Nicholas Sandmann
The dispute first started in 2003 after CNN terminated its contract with Team Video Services, which provided CNN video services in Washington D.C. and New York. CNN then hired new employees for the same job without bargaining with the two unions that represented TVS employees. The NLRB said that CNN was trying to operate as a nonunion workplace, telling workers that their prior employment with TVS and union affiliation disqualified them from employment.
In 2008, an administrative law judge found that CNN violated the National Labor Relations Act. In 2014, the NLRB agreed and ordered CNN to bargain with the unions and provide backpay. In 2017, a panel of the D.C. Circuit Court of Appeals, including Chief Judge Merrick Garland and then-Judge Brett Kavanaugh (now a Supreme Court judge), adopted the majority of the Board’s findings, and enforced the Board’s order that CNN cease and desist from refusing to recognize and bargain with the unions.
All parties agreed to resolve their dispute through the Board’s Alternative Dispute Resolution program.
On Friday, a spokesperson for CNN told TheWrap, “After more than a decade of litigation, negotiation and appeals we are pleased to have resolved a longstanding legal matter.”
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Kevin Hart’s ‘Night School’ Series Adaptation Ordered to Pilot at NBC
NBC has given a pilot order to a series adaptation of the 2018 comedy “Night School” from Kevin Hart.
The multi-camera comedy, which Hart will executive produce, centers on a unique mix of adults at a night school GED prep class who unexpectedly bond over their shared experience and find themselves helping each other both inside and outside of the classroom.
“Marlon” creator Chris Moynihan is writer and executive producer on the pilot.
Also Read: Seth MacFarlane Moves From 20th Century Fox to NBCU With 5-Year, $200 Million Overall Deal
Released in September 2018, “Night School” starred Hart as a high school dropout who returns to his would-be alma mater to obtain his GED under the tutelage of an unorthodox teacher, played by Tiffany Haddish. The film grossed $77 million at the domestic box office but was roundly panned by critics, with a 27% fresh rating on review aggregator site Rotten Tomatoes.
The adaptation hails from Universal Television, Moynihan’s Bicycle Path Productions, Hartbeat Productions and Will Packer Media, which produced the original film. Packer, Sheila Ducksworth and Malcolm D. Lee, the film’s director, will executive produce alongside Hart and Moynihan.
The project marks one of the first broadcast pilots picked up during the 2020 season. Earlier this week, ABC announced pilot orders for the vampire soap “The Brides” from “Riverdale” creator Roberto Aguirre-Sacasa and a “thirtysomething” sequel series called “thirtysomething(else).”
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Ruben Fleischer is Top Contender to Direct Tom Holland’s ‘Uncharted’ For Sony
Ruben Fleischer (“Zombieland: Double Tap”, “Venom”) is at the top of the list to direct “Uncharted”, starring Tom Holland and Mark Wahlberg, according to an individual with knowledge of the project.
“Bumbleebee’s” Travis Knight had previously departed “Uncharted” once the production schedule was being impacted by Holland’s Spider-Man schedule.
The new draft of the screenplay is written by Rafe Judkins, Art Marcum and Matt Holloway. “Uncharted” will continue Holland’s relationship with the studio, and is slated to shoot the next “Spider-Man” installment this summer.
The movie is an action-adventure based upon the critically-acclaimed and top-selling PlayStation video game series. The video game series was created by award-winning developer Naughty Dog and published by PlayStation.
Charles Roven and Alex Gartner are producing for Atlas Entertainment and Avi Arad and Ari Arad for Arad Productions. Following the creation of PlayStation Productions on the Sony lot last year headed by Asad Qizilbash and Carter Swan, this will be the first true partnership between PlayStation Productions. Qizilbash and Swan will serve as executive producers.
Fleischer most recently directed “Zombieland: Double Tap”, the sequel to the first film, which he also directed starring Woody Harrelson, Jesse Eisenberg and Emma Stone. Fleischer also directed box office hit “Venom” starring Tom Hardy and which became the second biggest superhero origins film of all time, grossing $845 million worldwide.
Fleischer is repped by CAA and Sloane, Offer, Weber & Dern.
Deadline first reported the news.
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Oprah Winfrey Breaks From Russell Simmons Documentary, Film Will No Longer Air on Apple TV+
Oprah Winfrey will no longer executive produce an upcoming documentary about a woman who accused music mogul Russell Simmons of sexual misconduct, and the film will no longer appear on Apple TV+, Winfrey told TheWrap in a statement.
The untitled film from Kirby Dick and Amy Ziering follows music executive Drew Dixon and how her life changed after she accused Simmons of rape and entered the #MeToo movement. The Def Jam Records co-founder has denied the accusations.
Dick and Ziering said in a statement:
“Revealing hard truths is never easy, and the women in our documentary are all showing extraordinary strength and courage by raising their voices to address sexual abuse in the music industry. While we are disappointed that Oprah Winfrey is no longer an Executive Producer on the project, we are gratified that Winfrey has unequivocally said she believes and supports the survivors in the film.
The #MeToo experiences of Black women deserve to be heard, especially against powerful men, so we will continue with our plans to bring the film to The Sundance Film Festival. This film, more than two years in the making, will be our eighth film to premiere at Sundance.
The film is a beacon of hope for voices that have long been suppressed, and an inspiration for anyone wanting to regain their personal power.”
Also Read: Patricia Arquette to Star in Apple TV+ Drama 'Severance' Opposite Adam Scott
The film is meant to premiere at the Sundance Film Festival later this month, but Winfrey felt the film was not ready to be screened at the festival and left the project.
“I have decided that I will no longer be executive producer on ‘The Untitled Kirby Dick and Amy Ziering Documentary’ and it will not air on Apple TV+,” Winfrey said in a statement. “First and foremost, I want it to be known that I unequivocally believe and support the women. Their stories deserve to be told and heard. In my opinion, there is more work to be done on the film to illuminate the full scope of what the victims endured and it has become clear that the filmmakers and I are not aligned in that creative vision.
“Kirby Dick and Amy Ziering are talented filmmakers. I have great respect for their mission but given the filmmakers’ desire to premiere the film at the Sundance Film Festival before I believe it is complete, I feel it’s best to step aside. I will be working with Time’s Up to support the victims and those impacted by abuse and sexual harassment,” Winfrey continued.
Also Read: Oprah Winfrey Says She Quit '60 Minutes' Because Show Was 'Flattening Out My Personality'
Dick and Ziering are the filmmakers behind “The Invisible War” and “The Hunting Ground,” which deal with the epidemic of rape of soldiers within the U.S. military and the institutional cover-up of rape on college campuses, respectively. Their latest documentary involving Dixon and Simmons was meant to be produced by Winfrey and Impact Partners and would have premiered on Apple TV+ in 2020. The project was announced in December, but the official logline from Apple did not identify the film’s subject, only that it involved a “brilliant former music executive.”
However, when the film was announced as part of the Sundance lineup, the full logline revealed that it followed Dixon and her accusations against Simmons.
Simmons was Dixon’s boss at Def Jam Recordings while she was an executive at the music label. Dixon says she was raped by Simmons in his apartment in 1995 and quit the company shortly after.
THR first reported the news of Winfrey’s departure.
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‘Jeopardy! GOAT': Here’s Why Brad Rutter’s All-Time Winnings Record Is Not in Jeopardy
Ken Jennings could win it all on next Tuesday’s game of “Jeopardy! Greatest Of All Time” (the show is off Friday and Monday) but he won’t be able to beat Brad Rutter’s all-time winnings record. Here’s why.
Rutter currently holds the record for most money won on “Jeopardy!” with a collective $4,688,436. Now, keep in mind, that includes special tournaments, where the stakes are much higher and players can win millions at a time. In regular-season play, average winnings are under a hundred thousand — unless you’re James Holzhauer, who holds the record for most single-game winnings with $131,127.
Jennings has the next highest number of all-time earnings counting tournaments, stacking up with about $1.3 million behind Rutter — with his total earnings since 2004 coming to $3,370,700. Behind him is Holzhauer, who has won $2,712,216 total since April of 2019.
Also Read: 'Jeopardy! Greatest of All Time': Here's Where the 3 Competitors Stand
It’s important to note that in this special “Greatest of All Time” tournament, the players will not keep their individual-game earnings. Instead, the first of the three men to win three games will take home a set prize of $1,000,000 and no more. The other two will each walk away with $250,000 as a consolation prize.
That means that the most Jennings’ total winnings could possibly reach is $4,370,700, leaving him about $300,000 shy of overtaking Rutter’s record — even if he does win the “GOAT” title.
Regardless, Jennings still holds the title for highest earnings in regular-season play, with $2,520,700 from the 74-game winnings streak he went on in 2004. Behind him is Holzhauer with $2,462,216, who came agonizingly close to beating Jennings’ record this summer with his 32-game winnings streak, only to see it all blown to bits by Emma Boettcher in the final hour. For more info on Rutter’s background, click here.
Tune in to Game 4 of “Jeopardy! Greatest of All Time” Tuesday at 8/7c on ABC.
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Robert Zemeckis in Talks to Direct Sci-Fi Thriller ‘Ares’ for Warner Bros.
Robert Zemeckis is in final talks to direct sci-fi thriller “Ares” for Warner Bros., an individual with knowledge of the project tells TheWrap.
“Birds of Prey” screenwriter Geneva Robertson-Dworet wrote the script which centers on an astronaut whose space capsule crash lands in the African desert. As the astronaut rushes to reunite with his family, it’s revealed that his astronaut’s mission is part of a larger conspiracy and that he may be carrying a secret that could forever change the world.
Along with directing, Zemeckis will also produce “Ares” with his ImageMovers partners Jack Rapke and Steve Starkey. Rideback’s Dan Lin and Jonathan Eirich are also producing. Rideback produced awards contender “The Two Popes” as well as 2019’s billion-dollar hit, “Aladdin.” Kristin Winkler is also producing. Roland Emmerich is executive producing. Rideback’s Ryan Halprin will executive produce as will Jackie Levine.
Also Read: Robert Zemeckis in Early Talks to Direct 'Pinocchio' Live-Action Remake at Disney
Additionally, Zemeckis is also set to direct a Disney’s live-action remake of “Pinocchio.” Both projects are being developed concurrently and it is unknown which project would go first. Zemeckis is currently in post on his latest directorial effort, “Witches,” WarnerMedia’s adaptation of the Roald Dahl novel which stars Anne Hathaway.
Zemeckis is repped by WME and Gang Tyre.
The Hollywood Reporter first reported the news.
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56 Biggest ‘This Is Us’ Tearjerker Moments – So Far (Photos)
Four seasons into “This Is Us” and the only thing fans can rely on more than the fact that they’re sure to get at least one twist or turn when they tune in each week is that they are definitely going to shed at least one — and usually more — tear per episode. Ahead of the NBC family drama’s return from winter hiatus Jan. 14, TheWrap has rounded up the show’s biggest tearjerker moments — both good and bad — so far. Obviously, spoilers ahead.
The truth about William
We knew William was dying pretty early on, but that didn’t make him trustworthy. It took Beth gently chiding Randall about his inherent goodness and William’s shady behavior to get the truth out on the table: William isn’t still doing drugs, he’s been disappearing for hours on end each day in order to take the bus to his house to feed his cat. “Well now I feel like a bitch,” Beth quipped, and we wept.
Jack’s fate
First, the show dropped the bombshell that Jack has been gone for so long that Randall’s kids consider someone else entirely their “grandpa.” We shouldn’t have been surprised to learn, then, that the Pearson family patriarch is actually dead, and had been dead since about 2006. Kate seems to have a hard time moving on from it, still maintaining a tradition of watching every Steelers game with her dad – even if it’s just his ashes left now.
How Randall became the third triplet
Even before the big time-jump twist was revealed in the pilot of “This Is Us,” the tears were already flowing, when it was revealed that one of Jack and Rebecca’s triplets didn’t make it through childbirth. Struck by a moment of inspiration in grieving, the Pearsons decide to adopt a baby who had been abandoned and showed up at the hospital on the same day.
The truth about William, Part 2
In the same episode they killed Jack, “This Is Us” lays down another whopper: Randall cleans up his daughter’s room, clutching some clothing left behind by William, implying he has said goodbye to yet another father (perhaps at some time in the near future). We don’t really even know what happened here yet, and we’re already crying.
Kate the princess
After being ostracized by her friends in the cruelest way possible, little Kate’s spirit was brought back to life thanks to a bit of magical storytelling by Jack, who hands her his t-shirt and tells her she can be anything she wants when she wears it, though she’s always a princess in his eyes. Who’s chopping onions around here?
Toby’s past
The heartbreaking moments don’t belong exclusively to the Pearsons. When Kate pushes, Toby reveals exactly why he’s not with his gorgeous ex-wife Joise anymore: Turns out, she was so horrible to him that he became suicidal and gained 100 pounds in a year. Ouch.
Rebecca and Shakespeare
Finding herself unable to bond with her adopted son after the death of one of her triplets, Rebecca seeks out the baby’s birth father instead of telling her husband. Their heart to heart, where she refused his request for visitation and he gives her the inspiration to name the baby Randall, is one of the show’s most gut-wrenching so far.
Toby’s last Christmas?
Just as Toby and Kate were joyfully reunited just in time for Christmas, he collapses, and ends up on an operating table. Cue hiatus and more potential heartbreak for the Pearsons.
Randall’s trip down memory lane
Only on this show could a bad hallucinogenic mushroom take the characters and the audience on a gut-wrenching emotional journey. As Randall reels from his mother’s betrayal, a vision of his dead father takes him down memory lane to reveal just how hard and lonely it must have been for his mother to keep such a secret to herself.
Jack’s sacrifice
The Pearson patriarch decides to take the plunge and leave his steady job to open his own business – just as they get news that Randall is so smart he should attend a pricey private school. In the end, Jack puts his family first, taking a promotion he never wanted so his kids can thrive. Best. Dad. Ever.
Kate and the rage-drums
During a seemingly hokey fat camp exercise, Kate taps into some very real emotions, mostly about her father’s death, and lets out a primal scream so heartbreaking we still can’t get it out of our minds and ears.
William chooses to die
After grappling with why he has such a problem with William spending so much time with Jesse, the father-son duo have another heartbreaking conversation, where William confesses he can feel the end is coming, and he’d like to stop chemo so he can enjoy his final days.
Trouble in paradise
After an episode where their happy marriage was contrasted to Miguel and Shelly’s crumbling relationship, Jack and Rebecca were left off on an ominous note when she revealed she wants to go on tour with her band — led by ex-boyfriend Ben.
Randall’s breakdown
The stress of work and William’s impending death finally takes its toll on Randall, who has a full-blown breakdown. The scene is made all the more emotional when the ever-self-absorbed Kevin picks up on the strain in his brother’s voice and races to his side to cradle him in his arms as he cries.
Related stories from TheWrap:
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Milo Ventimiglia Tells Us Why He's Not Mad at Jack After Shocking 'This Is Us' Death
January 9, 2020
Trevor Noah Is Enjoying Meghan Markle and Prince Harry’s ‘Breakup Text’ to the Royal Family (Video)
On Thursday’s “The Daily Show,” Trevor Noah had fun looking at what he called the “breakup text” Meghan Markle and Prince Harry sent Buckingham Palace yesterday, AKA the announcement that they’re stepping away from the royal family to become “financially independent.”
Noah was particularly amused by the reaction from Buckingham Palace — if you’re just catching up, it became obvious that Markle and her husband’s announcement took the other members of the royal family by surprise, since the Palace said in a statement that discussions are “at an early stage,” and that “we understand their desire to take a different approach, but these are complicated issues that take time to work through.”
Or so Noah put it, “the Queen is saying ‘slow your roll, bitches.”
Also Read: Will Meghan Markle and Prince Harry Pursue Hollywood Deals After 'Step Back' From Royal Duties?
“Some people are saying the Queen is upset because the royal family needs Harry and Meghan to remain popular,” Noah continued. “I think that the real reason is that the Queen is mad because she’s stuck with a bunch of merchandise that she can’t sell.”
Noah then launched into an impression of QEII: “I can’t sell shirts that say ‘slay queen’ if there’s no black family. I’ll get canceled on Twit-ter.”
But Noah said that he really feels bad for Markle and Prince Harry’s infant son, Archie. “You realize, he’s gonna grow up and be like ‘let me get this straight: We used to be in the royal family? Like I could have been a king, and now I’m working at Burger King? Is that what you’re saying?”
Watch the whole clip above.
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