Jimmy Carter was way ahead of the rest of America when he put solar panels on the White House. On June 20, 1979, he made a proud proclamation:
In the year 2000 this solar water heater behind me, which is being dedicated today, will still be here supplying cheap, efficient energy…. A generation from now, this solar heater can either be a curiosity, a museum piece, an example of a road not taken or it can be just a small part of one of the greatest and most exciting adventures ever undertaken by the American people.
The 32-panel system was designed to heat water throughout the presidential residence.
“President Carter saw [solar] as a really valid energy resource, and he understood it. I mean, it is a domestic resource and it is huge,” Fred Morse, director of Carter’s solar energy program, told Scientific American.
“It was the symbolism of the president wanting to bring solar energy immediately into his administration,” he continued.
Unfortunately, Ronald Reagan, who was no fan of alternative energy took the panels down form the White House when he took office a few years later.
Carter was right about two things he said in that dedication. First, his panels are currently on display at The Smithsonian Institute, the Carter Library, and the Solar Science and Technology Museum in Dezhou, China.
Second, renewable energy has become one of the most important American endeavors of the new millennium.
There’s no doubt that President Carter was way ahead of his time.
Carter has always been a man of action, evidenced by his hands-on approach to building homes with Habitat for Humanity. So in 2017, he leased ten acres of land near his home in Plains, Georgia, to be used as a solar farm with 3,852 panels.
The 94-year-old Carter still lives in his hometown of Plains with his wife in a two-bedroom home that’s assessed at about $167,000.
Three years after going live, Carter’s solar farm now provides 50% of the small town’s electricity needs, generating 1.3 MW of power per year. That’s the equivalent of burning about 3,600 tons of coal.
The system is state-of-the-art with panels that turn towards the sun throughout the day so they generate the maximum amount of power.
“Distributed, clean energy generation is critical to meeting growing energy needs around the world while fighting the effects of climate change,” Carter said in a SolAmerica press release. “I am encouraged by the tremendous progress that solar and other clean energy solutions have made in recent years and expect those trends to continue.”
“There remains a great deal of untapped potential in renewable energy in Georgia and elsewhere in the U.S. We believe distributed solar projects like the Plains project will play a big role in fueling the energy needs of generations to come,” SolAmerica executive vice president George Mori said in a statement.
After playing in other people’s bands and making two albums under the band Hand Habits, Meg Duffy is taking their music to new, adventurous territory. Their forthcoming album Fun House, which is due later this month, is the result of several life changes onset by the pandemic, and now, Duffy is ready for a breath of “Clean Air” with their latest single.
Along with releasing their new single “Clean Air,” Duffy shared a stirring video directed by V Haddad. It juxtaposes the song’s tenderhearted nature with the chaos of moshing bodies at a Hand Habits live performance, allowing Duffy to find serenity in disarray.
Speaking about their inspiration behind “Clean Air,” Duffy said, “When writing songs for Fun House, I had become exhausted and bored by the idea of writing more songs out of blame, spite, or anger. ‘Clean Air’ is about finding clarity, leaning into acceptance, and acknowledging someone else’s experience as truth without blame or resentment, even when it differs from our own.”
About the LP as a whole, Duffy recalls how the pandemic led them to discovering a different side of their music:
“When the pandemic happened, everything stopped. I had been touring consistently for five years, both on my own and playing in other people’s bands, so I wasn’t really writing a lot in between. It had been full pedal to the metal in terms of traveling and scheduling, which meant I really didn’t have a lot of time to think about how I felt or really check in with myself. Then, when the world basically stopped, it turned out to be the longest I’ve been alone in my entire life — without being in a relationship, without being on the road, without working myself to exhaustion — and the result was really like, holy shit. I slammed on the brakes and everything psychologically that I’d been pushing down and ignoring for the past few years suddenly flew to the foreground.”
Watch Hand Habits’ “Clean Air” video above and find their Fun House cover art and tracklist below.
The Brooklyn Nets are reaching a point of being stuck between a rock and a hard place. All-Star guard Kyrie Irving has not been vaccinated against COVID-19, and with New York having strict rules that require workers to get vaccinated, Irving is unable to play in games or participate in team activities that take place in the city.
A recent report by Brian Windhorst and Adrian Wojnarowski indicated that the Nets’ optimism that Irving will be able to join the team sometime soon is “waning,” and that his continued reluctance to get the vaccine might put the team in a situation where they “could ultimately have to make hard decisions on Irving’s future.” Whether or not this means the team would try to trade him or just trudge forward without him with the hope that he gets vaccinated or New York changes its rules remains unclear.
In the eyes of Stephen A. Smith, there is one person who can step in and play a role in convincing Irving to do what he needs to do. Smith called on Kevin Durant to play a role in remedying the “distraction” by having a blunt conversation with his teammate.
“It is up to KD to step in and step up and say, ‘Yo, bro, I’m with you, I’ve got your back 1,000 percent, so long as you on this court with me, but if you not gonna be on this court with me, you going up against everything we planned,’” Smith said. “’Nobody planned on a pandemic, nobody saw that coming, but these are our circumstances and our situations.’”
Smith went on to say that he believes Durant could, ultimately, decide “to either reel him in or give the Brooklyn Nets the OK to move on from him.” This does not, of course, mean that Smith thinks Durant will advocate for Brooklyn to trade Irving if he won’t get the vaccine — he has reported in the past that Durant stepped in and single-handedly squashed talks on an Irving-for-Ben Simmons trade — just that this is the power Durant possesses within the organization as its best player.
As Kristen Wiig once sang during a Björk impression on SNL, “Welcome Iceland, there is no sunlight. You are on fire, a demon taaakes your faaaaace…”
Which is to say, there is an uncanny quality to the landscape of Iceland that makes anything shot there feel slightly otherworldly. It’s a setting that naturally lends itself to horror and fantasy. With Lamb, A24’s new movie from director Valdimar Jóhannsson, co-written by author and Björk collaborator Sjón, it’s a little hard to tell where the otherworldliness of the setting ends and the otherwordliness of the story begins.
Lamb, winner of the “prize of originality” at Cannes, is a movie that exists in a kind of middle realm, between folklore and reality. Trying to describe Lamb without spoiling it is a bit like trying to make sense of an ancient proverb, where you can tell that it’s an expression of a recognizable human feeling, it’s just been filtered through so many different languages, time periods, and realms that you now have to squint to understand.
Attempting to divine exactly what the hell kind of movie you’re watching is a big part of Lamb‘s appeal, perhaps the appeal. This quality, however, creates something of a marketing conundrum. Experiencing art is best done with no expectations; selling art necessitates creating them.
A24’s trailer for Lamb amplifies some of the film’s most unsettling qualities, creating something that’s arguably art in its own right. It also seems to advertise a horror movie, which Lamb is decidedly not, frequently unsettling though it may be. It’s more just charmingly “off,” in some ineffable way.
Speaking to star Noomi Rapace (who was born in Sweden and raised partly in Iceland) and Icelandic director Valdimar Jóhannsson was a similar experience. I had many questions, about the many animal stars of Lamb, the logistics of trying to film them, about what it was like delivering live lambs on camera, etc. But best laid plans often had a way of devolving, into Rapace helping Jóhannsson translate some arcane observation into English, or them both attempting to recount a famous Icelandic ghost story. Which turned out to be probably far more enjoyable than it would’ve been if they’d both been able to speak perfect English or tell the story perfectly lucidly.
There’s a vague spookiness to the way Scandinavian and Nordic people describe the world, even when their English is nearly indistinguishable from a native English-as-a-first-language speaker, as Noomi Rapace’s is (she even played a Brit in Prometheus). Like when she says of a pregnant sheep, “You can see that their pain is approaching.”
It was the ideal conversational companion to Lamb. Sometimes it’s the groping to articulate a feeling that can’t quite be articulated, the space between feeling and conveying, that resonates as much as the sentiment itself.
—
So did you get to deliver a real lamb for this?
NOOMI RAPACE: Several. That’s on my CV now. If you ever need a baby lamb delivered, just call me.
How did that come about?
RAPACE: I was shooting a movie in New Orleans, so I didn’t have any time at all to practice. I landed in Iceland on Sunday and on Monday my hands were inside of a mother sheep, pulling out a lamb. But I did, I watched a farmer do it twice before, and then he was standing next to the camera if something would go wrong. But to be honest, I had just had to jump in. I grew up on a farm, so I was used to physical work and it’s like, you can’t really be emotional. You just need to switch on your practical mind and just do it, you know?
Was there a consultant whose job it was to figure out when the sheep were about to give birth for you?
RAPACE (to Jóhannsson): We had the farmer, right? He kind of, I remember him going and touching the belly of the sheep and saying when she was ready
VALDIMAR JÓHANNSSON: You can see it easily, based on how they behave.
RAPACE: They start moving around in a strange way. You can see that their pain is approaching.
But, logistically, did you have the environment all lit and staged ready for the birth to happen?
RAPACE: It was natural light. The cameraman was ready, and I was waiting in my trailer for the knock. And then it’s like “Okay, a lamb is coming” and just running down to the barn and like jumping in and there he was. And you know, it was crazy, seeing this little creature coming out and opening his eyes for the first time and standing up and breathing, it was so magical and scary at the same time. Life is so powerful and fragile.
JÓHANNSSON: And that was the reason why we were shooting in two [separate chunks]. I think, because when we came in, I think it were only like 10 sheeps who could give birth in that area. Because the sheep cannot travel around Iceland because of the restrictions.
So Noomi, you were raised both in Sweden and Iceland. And Valdimar, were you raised all in Iceland?
JÓHANNSSON: Yes.
When Swedish and Icelandic people make jokes about each other, what are the things that they joke about?
RAPACE: We like each other! I mean, it’s more Icelandic people and Danish people that have some issues. And Swedes and Norwegians have some. I have this Norwegian movie coming out next week or something, two weeks, called The Trip, and we were just at Fantastic Fest in Austin, Texas and I had both movies there. I got that question, about Icelandic and Swedish people, but we’re good, we like each other. I mean, I’m both. But Swedes and Norwegians, we have a way more complex relationship. Would you agree with me?
JÓHANNSSON: Yeah, I think that is right.
What’s the Denmark/Iceland conflict?
RAPACE: We can trace it back to the times of the Vikings, right? My grandmother, she told me that you had to learn Danish in school. You had to have second language.
JÓHANNSSON: You learned Danish. Even now. So, there there’s a little bit…
RAPACE: You were adapted against your will.
JÓHANNSSON: Exactly.
So the animals are obviously important characters in the movie. Were they cooperative as actors?
JÓHANNSSON: Yes. It took so much time doing every scene when we were working with the animals, but it worked. The actors have to wait and luckily Noomi’s a very patient person.
RAPACE: It was so hard for me. Honestly, there were days when I was like “does this end, this waiting game?” Mostly for the cat. The cat was the worst. The cat was the total diva on set. They didn’t want to play when you want them to play. And then as soon as we said cut, he did exactly what we want him to do. I was like, “what is wrong with you, Carlos? We were waiting half an hour.” Long waiting game always for the lambs to fall asleep, all the space in the house. And then finally the lamb was asleep and they handed over the lamb to me and we were like, (whispering) “camera, action.” And then the lamb immediately woke up and was like “baaaaahhh.” Everyone out, starting again.
Were there different trainers for each animal group?
JÓHANNSSON: We had two and we also had a lot of farmers. And sometimes we also brought in some people if it was needed.
The trailer for the movie, it’s really cool, but it sort of looks like a horror movie. Do you have feelings about how the movie is marketed and how they should try to sell it?
JÓHANNSSON: I really like the trailer. I think it’s very interesting. And I think they know what they’re doing. But, it also depends on, because now we have been meeting a lot of the audience, some people feel it’s like a horror film, but others think it’s just an action film. I say they can choose.
RAPACE: What did you think?
The only movie that it reminded me of was Border, the Swedish movie, which I loved. I don’t know how you describe that genre. Do you have any thoughts on how you would describe that?
RAPACE: Let me just say that, Vince, ’cause I was asked to do Border and I couldn’t do Border because I was trapped in another contract. Then one of the producers on Border is also producer on Lamb. So when I couldn’t do Border, he came to me with Lamb. So, maybe we are creating our own genre, starting with Border.
JÓHANNSSON: Border for me, I would not say it’s a horror film.
It’s like… a folkloric realism kind of thing.
RAPACE: Yes, and also very matter of fact. You’re not adding any extra weight, you’re not making it spooky or weird. It’s very in daylight, it’s right here. It’s one little obstacle, that one [supernatural] thing that is true. But others still like, they’re doing coffee and they eat mac and cheese.
This movie, it’s hard to sell without spoiling. Do you have any thoughts on what you tell people what this movie is about to keep from ruining any secrets?
RAPACE: It’s a love story. It’s a story about healing and motherhood and that you would do anything to… if you lose the one thing you can’t lose — a child, for me — it would be… I have a son and I can’t even go there, you know? If he would be taken away from me, I don’t know what I would turn into. I think that desperation and need to find something to hold onto, you’re allowed to do anything.
So what was the place where the filming was done? Was it all in the same place?
RAPACE: Yeah. In a valley up in the north part of Iceland.
What is that place like?
RAPACE: (to Jóhannsson) You grew up there, right? I mean close by.
JÓHANNSSON: Yeah, close by. Probably like one and a half-hour away. What was so nice about it was there’s nothing almost around, a few farms, but you could shoot like 360 degrees and you can see out of every window from the farm and it had been a farm for like 20 years. So we could just make it the home that we wanted to for Maria and Ingvar. It was a perfect location.
RAPACE: But it was a lot of energies there. It was like a very old tale. Do you remember the neighbor’s farm? My grandmother told me there was, with the guy who forced his bride to marry him. It was a lot of stories around there, like old myths and stuff.
JÓHANNSSON: Yeah, yeah, it’s a very famous, probably the most famous ghost story in Iceland.
So what was the ghost story?
RAPACE: It’s a man who wants to marry a girl, but she didn’t want to marry him, right? And then…
JÓHANNSSON: Oh, no, he’s going to pick her up…
RAPACE: On his horse. Yeah.
JÓHANNSSON: And then on the way, when he’s picking her up, he is going over a frozen river and the…
RAPACE: Oh yeah! And the ice breaks, and then he drowns.
JÓHANNSSON: And then he comes to pick her up, and when they’re going away from the farm, his hat…
RAPACE: He doesn’t have the back of his head.
So did you have the setting in mind for the movie first or the story?
JÓHANNSSON: Probably the setting, because I made like a sketchbook with a lot of photos and paintings and drawings. I knew that I wanted to make a film with sheep farmers. It’s just also how the location somehow should be.
RAPACE: You work very much from a visual. You have an image, you have a photograph, you have a painting, and then that kind of guides you. Other directors I work with kind of maybe starts with a psychological construction.
I mean, it works. You don’t need too many words in this movie to make it work. Is that helpful for you, as an actor, to not have the burden of memorizing a lot of lines for a movie?
RAPACE: I don’t mind memorizing. I’m quite fast with that. But it was, on most of the films I’ve done, I feel like they’re too heavy on dialogue. We don’t need it. You’re kind of feeding the audience with information by talking instead of doing, and it was so liberating working with Valdimar. It’s like, you know, we don’t need to say much. And funny enough, Vince, Valdimar thinks it’s too much dialogue in that. The next one he’s doing, it’s going to have less dialogue. So, but no, then you start to embrace and welcome other ways of communicating. If you do a scene where there’s a lot of talking, you know, they’re going to cut between that line, to that line, to that line. People can be in it like 70%. But if it’s not dialogue, you need your whole body. Like the way I lift this cup will tell the story. If I’m slow, if I’m shaking, you will read into every little detail in my body language.
JÓHANNSSON: I always imagine that it’s probably more difficult for the actors that way, not to talk. Because you have to tell me something just with a hand gesture.
—
SPOILERS REVEALED BELOW THIS LINE, CONSIDER YOURSELVES WARNED
When you have a half-human, half-animal character you naturally wonder, like, how did that come about kind of a thing.
JÓHANNSSON: Yeah. Well, you know, at least the farmer was inside when it was happening. [presumably, when the creature was born]
RAPACE: I mean, like that Christmas scene in the beginning, I think Maria feels that there’s a dangerous energy, something approaching. She’s standing looking out of the window, she knows that something is there and she shakes it off and they have dinner. They have the Christmas dinner, but that’s when that shape gets I guess maybe raped or something.
JÓHANNSSON: Could be.
RAPACE: Could be. I mean, they are very stressed and it’s not a lovemaking act for sure.
‘Lamb’ is available in theaters everywhere on October 8. Vince Mancini is on Twitter. You can access his archive of reviews here.
Current Jeopardy! champ Matt Amodio has been a non-stop record-breaking machine, and his latest feat was so impressive that former champ Ken Jennings couldn’t help but react. During Monday’s episode, Amodio’s unique play style shattered the ceiling for the highest earnings in a single day as he continues to light the Jeopardy! charts on fire and take out everyone in his path. Via Yahoo! Entertainment:
The contestant finished last week with his 33rd consecutive win, replacing James Holzauer as the second winningest player in the game’s history. He followed up that record-breaking performance by setting a new single-day money total, thanks to a very brave Final Jeopardy! wager.
Amodio, who had $41,800 more than the next highest contestant bid a whopping $37,000 on the last clue. The correct answer garnered him $83,000, his biggest one-day winnings yet.
The impressive one-day haul caught the attention of Jennings who took to Twitter to voice a simple, practically speechless “whoa.” After seeing Jennings’ tweet, Amodio couldn’t believe his latest move earned him praise from the former champ.
“Whoa. I made Ken Jennings say ‘whoa,’” Amodio tweeted in disbelief.
But that humility quickly turned to his trademark cockiness as Amodio switched gears moments later and fired off a cheeky reply while quote-tweeting Jennings.
“Now if only I could get that Ken Jennings smell out of the #Jeopardy winner’s podium,” Amodio playfully tweeted as his hot streak continues to have no end in sight.
In the video for FaZe Kaysan’s debut single as a producer, plenty of FaZe Clan showed out to help support their newest member’s foray into music. After dropping the single, “Made A Way,” a few days ago — which Kaysan co-produced with Wondagurl — today the emerging producer has shared a video to accompany it. In the clip, Kaysan and Lil Durk start off driving around LA, before meeting up at a mansion in the Hollywood Hills for a multi-course feast. They link up with fellow FaZe members at the house, like FaZe Banks, FaZe Swagg, FaZe Temperrr, FaZe Rug, FaZe Adapt and FaZe Rain.
Later on, after plenty of clinking wine glasses and feasting, Future joins up for an evening and delivers his verse while a party slowly begins to build. Though the video doesn’t stray too far from the typical rap video script, we do get a few nods to Kaysan’s gaming background with shots of him at his computer, and the presence of his other Faze members. It sounds like this initial song is just the start for him, too, and he’s already performed live for the first time as an opener for Jack Harlow at the FaZe Clan Summer Tip Off in Las Vegas this summer.
Check out the clip above and keep an eye out for more from Kaysan coming soon.
If you’re wondering why the Easter Bunny above has such a perplexed look on his face, it might be because he was just forced to strip by First Lady Melania Trump—or because he’s watching two adult men and their families cut a line of thousands of people in order to have their picture taken with their President Dad at The White House’s annual Easter Egg Roll.
Of the many bombshells former White House press secretary Stephanie Grisham is dropping in her new book, one of the most embarrassingly juvenile—but totally expected—gems is how, in 2017, the adult children of then-president Donald Trump cut the line at the annual Easter Egg Roll in order to get a picture taken with their dear ol’ dad. According to Business Insider, Grisham says that Don Jr. and Eric Trump cut the line “ahead of the other children in attendance and made sure their own kids and not the kids of the general public were in the photos with the president and first lady.”
“Some of the children and their parents had stood in long lines for an hour or longer to get a spot with the president,” Grisham continued, “and they were relegated to the background. I would go on to develop positive relationships with most of the Trump children, but that was a generally obnoxious and entitled display that did not appear to surprise [Melania Trump].”
Grisham claims that despite the former president’s terrible sons being terrible as usual, she felt the event was a success—which she credits to Melania. According to BI, Grisham says that Melania kept the crowd size smaller than usual so that parents weren’t waiting in line for hours on end (good move, guys!) and that she was also laser-focused on tiny details… like the Easter Bunny’s wardrobe. When he hopped out in a plaid vest, Melania reportedly deemed it “tacky” and “then and there, only minutes before he was to hop out onto the White House lawn, Melania Trump made the Easter bunny strip,” Grisham writes.
Grisham’s book—which both the former president and First Lady have condemned as horsesh*t—is titled I’ll Take Your Questions Now, which is ironic considering Grisham never held a single press conference during her time as White House press secretary.
Chris Hayes has officially had it with Fox News. On Tuesday, Mediaite reports, the host of MSNBC’s All In torched the competing—and controversial—network for its dangerous coverage of COVID-19 and the importance of getting vaccinated. After sharing footage of an anti-vaccine rally in New York City that ended in Union Square with “protestors” knocking over a mobile COVID testing site, Hayes surmised that the message being sent there was: “Stop talking about COVID. Stop reminding us this thing is real and dangerous and we have to do something about it. I don’t want to hear it. Shut up, shut up, shut up.”
So what’s fueling this kind of stupidity? Well, Tucker Carlson for one—or, as Hayes calls him: “Vaccine Public Enemy No. 1.” But even more so is the carelessness with which Fox News allows both its anchors and guests to spout opinion over fact when it comes to COVID. “Do not underestimate how many lies are being pumped into people watching these shows,” Hayes warned his viewers, adding that: “Media Matters ran the numbers. They shared a new study with us… that shows that Fox News pushed a claim undermining vaccines during 99 percent of the days in the past six months.”
While anyone who is critical of Fox News probably would not be surprised by that statistic (or if they are, would only be surprised that it wasn’t 100 percent), one of Hayes’ biggest issue with the network’s anti-vaccine rhetoric is its hypocrisy. As he explained:
“Of course, what makes all this so deeply cynical, aggressively cynical, is that while Rupert Murdoch’s Fox News is the source of so much of this—they have been running one of the most destructive disinformation campaigns I’ve ever seen—Rupert Murdoch himself was among the first in line to get a vaccine back in the UK back in December of last year. [He] strongly encouraged people around the world to get it.
Not only that, Fox News also has a vaccine mandate stronger than the one proposed by President Joe Biden. They are requiring any unvaccinated employees to be tested every day! And, of course, while many of their on-air hosts were rambling against COVID restrictions, they were broadcasting their shows from the safety of their own homes…
So, inside Fox News, everyone takes this seriously. They’re in on the joke, I guess? They understand the science is quite solid. They understand the methods for preventing infection, severe illness, hospitalization, and death; for methods for maintaining a safe workplace are all pretty clear. When they go on air, they undermine that exact message.”
In 2019, Pharrell invited some of today’s top stars to take the stage in his Virginia Beach hometown for his Something In The Water festival. The event was canceled in 2020 and 2021, but in 2022, things will be a little different. The musician has decided to move the festival away from Virginia Beach, citing the city’s “toxic environment” in a letter to officials.
Pharrell’s letter comes as a response to Virginia Beach City Manager Patrick Duhaney’s memo to the musician dated September 26, which detailed his “immense disappointment” in learning Something In The Water would be moved from the city. In Pharrell’s response to Duhaney, the musician explained that much of his decision to move the festival is due to the city’s response to his cousin’s murder by a police officer who did not have their body camera turned on:
“I love the city of Virginia Beach. I’ve always loved the city of Virginia Beach and most importantly our people. It’s a part of my beloved 757.
When we did the festival, it was to ease racial tension, to unify the region, bring about economic development opportunities and broaden the horizons of the local business community. We achieved those things! I wish the same energy I’ve felt from Virginia Beach leadership upon losing the festival would have been similarly channeled following the loss of my relative’s life.
I love my city, but for far too long it has been run by — and with toxic energy. The toxic energy that changed the narrative several times around the homicide of my cousin, Donovan Lynch, a citizen of Virginia, is the same toxic energy that changed the narrative around the mass murder and senseless loss of life at Building Number 2.
I sang about a room without a roof, but I am tired of kindly and politely being shown the door.
Until gatekeepers and the powers-that-be consider the citizens and the consumer base, and no longer view the idea of human rights for all as a controversial idea… I don’t have any problems with the city, but I realize the city hasn’t valued my proposed solutions, either.”
Stephanie Grisham was Donald Trump’s press secretary from July 2019 to April 2020. In that time, she didn’t hold a single press conference, an ignoble first in White House history. It’s for that reason — and many others, like how she was a willing participant in the Trump administration — that Stephen Colbert wants you to ignore her tell-all book.
“There’s a new tell-all from former White House press secretary and Morticia Addams’ divorced sister, Stephanie Grisham. Stephanie Grisham worked in the White House for four years, and as press secretary, she famously never gave a single press conference. But now she’s spilling all the tea in her new book, I Just Recently Gained a Spine,” Colbert said during the monologue of Tuesday’s episode of The Late Show. That’s not the actual title, obviously, but Colbert doesn’t want to help Grisham “sell a single copy of her tell-all about the time she told us nothing.” So he spoiled all the “juicy details.”
“In the book, Grisham uses a lot of colorful language to describe the administration, calling it ‘a clown car on fire running at full speed into a warehouse full of fireworks.’ Or as Fox News would put it, ‘a brave band of flaming harlequins rushing patriotically into the explosive jaws of danger.’ Just a reminder: She knew all about the fiery clown car and she still called shotgun for four years.”
Colbert also discussed Trump wearing Grisham’s makeup during a visit to Saudi Arabia and the time failsons Donald Jr. and Eric and their families cut the line at the White House’s annual Easter egg roll. “They cut a bunch of little kids in line so they could be first to get a picture with their own dad, like he’s a character at Disney World,” he joked.
You can watch The Late Show monologue above.
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