Categories
Television

I still miss Letterman, but Colbert is getting better.

Stephen Colbert can’t be ‘Stephen Colbert’

After CBS “Late Show” host Stephen Colbert told viewers that lawyers representing his old Comedy Central show said he couldn’t be “Stephen Colbert” anymore, he thumbed his nose at them with a transparent dodge.

Lawyers representing his old company complained to CBS after he revived the character he played under his own name on “The Colbert Report” — a clueless, full-of-himself cable news host. They said that the character “Stephen Colbert” was their intellectual property, “which is surprising, since I never considered that guy much of an intellect,” Colbert said on the “Late Show” on Wednesday.

The audience booed when Colbert, “with a heavy heart,” said it has been decreed that the character is kaput.

“I feel the same way, but what can I do?” Colbert said. “The lawyers have spoken. I cannot reasonably argue that I own my own face and name. And as much as I’d like to have that guy on again, I can’t.”

He then introduced “Stephen Colbert’s identical cousin,” an interview with himself displaying the same cocked eyebrow expression his old character had. Then the real Colbert did one of the old show’s most popular recurring segments, retitling “The Word” to “The Werd.”

Representatives from CBS and Comedy Central declined comment on Thursday. Until 2005, when CBS split from Viacom, the two networks were corporate cousins.

Since starting at the “Late Show” last fall, Colbert has struggled to establish himself with his own personality. So fans were delighted last week when he briefly brought the old character back.

The “Late Show” has been making an aggressive play for attention with two weeks of live shows coinciding with the Republican and Democratic conventions. Besides the reappearance of his character, old friend Jon Stewart appeared last week for his first extended comic riffs on TV since leaving Comedy Central’s “The Daily Show.”

The episode recalled a similar one when David Letterman left NBC’s “Late Night” to go to CBS in 1993. At the time, NBC’s president said Letterman could not take popular features like the Top 10 list and Stupid Pet Tricks with him because they were the “intellectual property” of NBC.

Letterman poked fun at that on his first CBS show. NBC’s “Nightly News” anchor Tom Brokaw walked onto the set and confiscated a couple of Letterman’s cue cards, saying, “these last two jokes are the intellectual property of NBC.”

“Did you ever think you’d hear the words ‘intellectual property’ and ‘NBC’ in the same sentence?” Letterman said.

The Top 10 list remained a staple of Letterman’s show until he retired last year.

Comedy Central does not repeat episodes of “The Colbert Report,” but fans can still access video highlights from the show’s website, which has paid advertisements.

During his interview on Wednesday’s show, Colbert’s “identical cousin” said, “Stephen, whenever you need me, wild horses ridden by corporate lawyers could not keep me away.”

“The Werd” segment was identical to what he used to do, except for the ‘e’ in the name. On a split screen, Colbert narrated a story while printed messages on the other side provided the punchlines.

For instance, Colbert said that during the coming campaign, Hillary Clinton will say things that will make Donald Trump appear to be a racist. On the side screen came the words: “And so will Donald Trump.”

He said there was another option for dissatisfied voters this fall: “Write in Michelle.”

Categories
Books

With all due respect, I didn’t think that she was done before, and I don’t think that she’s done now.

J.K. Rowling announces the end of Harry Potter: ‘I think we’re done’

Hold your new copy of Harry Potter and the Cursed Child close, people! After nearly 20 years, seven novels, eight feature films, and theme park attractions around the world, J.K. Rowling announced she is officially done expanding the trajectory of the boy wizard at the center of it all.

Speaking Saturday night at the London premiere of Cursed Child’s stage production, Rowling told press that Harry “goes on a very big journey during these two plays and then, yeah, I think we’re done.”

Rowling’s announcement comes as Cursed Child ends a little over a month of preview runs and officially opens to the public. Further elaborating on her decision to conclude Harry’s story with the play, the author added: “This is the next generation, you know. So, I’m thrilled to see it realized so beautifully but, no, Harry is done now.”

Parts I and II of Cursed Child’s printed script, which received glowing critical reviews and shattered preorder records, went on sale Sunday at midnight. The play, which is currently set to run through Dec. 2017, tells the story of Harry, Ron, and Hermione 19 years after the events of the franchise’s final novel, Harry Potter and the Deathly Hallows, and also focuses on Harry’s son, Albus.

Harry Potter and the Cursed Child is now playing at London’s Palace Theatre. Tickets are currently sold out, though 250,000 seats will be available for purchase beginning Aug. 4.

Categories
Movies

I saw Jason Bourne and while it isn’t great – and nowhere near as smart or clever as the others – I didn’t dislike it.

Box office report: Jason Bourne storms top spot with $60 million

A decade’s absence makes the hearts of America grow fonder. Nine years after their last franchise collaboration, Matt Damon and Paul Greengrass return to the top of the domestic box office as Jason Bourne grosses an estimated $60 million across its opening weekend.

Continuing the Bourne collective’s massive haul since 2002 (over $1 billion in total receipts), Universal’s fifth theatrical adaptation of Robert Ludlum’s book series averages $14,093 from 4,026 screens in North America, earning the second-highest opening haul for a Bourne title in history (unadjusted for inflation) and a positive A- grade on CinemaScore. The debut also marks the second best opening weekend of Damon’s career, trailing just behind The Bourne Ultimatum’s $69.3 million.

According to Universal, exit polling indicates men made up 55 percent of Bourne’s weekend audience, while 60 percent of ticket buyers were over the age of 35. Domestic numbers are up around 30 percent from the same frame last year, when Paramount’s Mission: Impossible Rogue Nation scored $55.5 million.

Bourne additionally amasses an estimated $50.1 million from 46 international markets, bringing its worldwide total to just over $110 million.

Topping $100 million in North America, Star Trek Beyond tumbles nearly 60 percent in its second weekend, adding an estimated $24 million to its total. The $185 million picture — the third in the rebooted lineage — is, adjusted for inflation, the second lowest-grossing title in franchise history, though its foreign numbers (currently at $54.8 million and counting) should push the film past its budget in the coming weeks. Whether the film pulls in enough to make a profit, however, remains to be seen.

Giving Star Trek a run for its money at No. 3 is STX’s female-driven comedy Bad Moms, which earns a healthy estimated $23.4 million in its opening weekend. Fronted by an ensemble cast that includes Mila Kunis, Kristen Bell, Kathryn Hahn, Annie Mumolo, Jada Pinkett Smith, and Christina Applegate, the R-rated comedy’s total was fueled by an over-25, predominantly female audience as it averaged $7,278 on 3,215 screens.

On top of doing solid business, Bad Moms earned a rare A grade on CinemaScore, besting other summer comedies like Keanu (B), Neighbors 2: Sorority Rising (B), and Ghostbusters (B+) on its way to a healthy overall run as it wisely taps into a recently underserved demographic.

Rounding out the top five are The Secret Life of Pets and Lights Out, which pull in an estimated $18.2 and $10.8 million, respectively. In its fourth weekend of wide release, Pets’ domestic total sits just below $300 million. By mid-week, the film will become 2016’s sixth title overall (third animated) to cross that line. Lights Out’s 50 percent drop marks a relatively light decline for the horror genre, bringing the film’s U.S. and Canada total to an impressive $42.9 million on a $4.9 million budget.

Also debuting in wide release is the Emma Roberts/Dave Franco thriller Nerve, which earns an estimated $9 million this weekend after its $6.1 million head start on Wednesday and Thursday. The film’s five-day gross hovers above $15 million as it, too, receives an A- grade on CinemaScore.

Outside the top 10, Woody Allen’s Cafe Society expanded to 565 theaters on Friday, taking an estimated $2.3 million over the three-day frame, while Central Intelligence’s $910,000 gross adds to its worldwide total, which pushed past $200 million at the tail end of the week. Specialty titles like Equity and Indignation also impress in limited release, averaging a respective $20,182 and $22,268 from four theaters each.

Check out the box office estimates for the July 29-31 weekend below.

1. Jason Bourne – $60 million
2. Star Trek Beyond – $24 million
3. Bad Moms – $23.4 million
4. The Secret Life of Pets – $18.2 million
5. Lights Out – $10.8 million
6. Ice Age: Collision Course – $10.5 million
7. Ghostbusters – $9.8 million
8. Nerve – $9 million
9. Finding Dory – $4.2 million
10. The Legend of Tarzan – $2.4 million