Entertainment
Roy Wood Jr.'s 'Have I Got News for You' is 'a chance to live within the jokes first'
When Roy Wood Jr. played sports in high school, he spent a lot of time warming the bench — an experience that primed him for a career in comedy.
“Your job as a bench warmer is to come up with the heckles against the other team. I took pride in writing insults to hurl at other 15-year-olds,” Wood recalled in a recent Zoom interview. “If I could get the umpire to laugh, that was like an applause break. If I got the parents to laugh, that was the standing O.”
There on the sidelines, Wood discovered he was funny, a talent he has been honing relentlessly in the decades since. After years of nonstop touring, Wood’s elusive big break arrived in 2015, when he became a correspondent on Comedy Central’s “The Daily Show.” His wry sense of humor and sharp takes on issues like race and criminal justice made him a standout on the late-night program known for launching comedic talent. But shortly after a well-received turn as emcee at the White House Correspondents Dinner last year, Wood announced he would be leaving “The Daily Show.” The news, which came amid a messy and protracted search to find a host to replace Trevor Noah, who stepped down in 2022 after seven years at the desk, was a blow to fans who considered him the ideal successor.
It didn’t take long for Wood to land on his feet, however: On Saturday, the comedian will make his debut as the host of “Have I Got News for You,” a panel show on CNN that will take on the week’s headlines and attempt to fill a void in the topical comedy landscape.
An American update on the BBC show of the same name — a fixture on British airwaves since 1990 — “Have I Got News for You” will feature guests from the world of politics and entertainment competing in a fast-paced news quiz. Joining Wood are fellow comedy veterans Michael Ian Black and Amber Ruffin, who are rival team captains. While comedy panel shows are an institution in the U.K., the closest equivalent in the United States might be the NPR quiz show “Wait Wait… Don’t Tell Me.” “Have I Got News for You” will take on current events, but with a lighter, more nimble touch, Wood said.
Roy Wood Jr. says the show is “an opportunity to talk about the news, but we get to season it for taste, in terms of the depth in which we want to go on a particular topic.”
(Oliver Farshi / For The Times)
“We get to be in a very interesting piece of real estate in between, say, a Jimmy Fallon and a ‘Daily Show,’ ” said Wood, as he alternated sips of two smoothies, one a fruity pink, the other a healthy green. “It’s an opportunity to talk about the news, but we get to season it for taste, in terms of the depth in which we want to go on a particular topic.”
After so much time at “The Daily Show,” where every piece, no matter how silly, advanced a political point of view, Wood is looking forward to cutting loose.
“The burden of making the argument every single time is not on my shoulders anymore,” he said. “It’s a chance to live within the jokes first, the opinions second.”
For Wood, the intersection of news and entertainment is familiar terrain. He studied broadcast journalism at Florida A&M University, a historically Black school, and his father, Roy Wood Sr., was a pioneering radio reporter known for his coverage of the civil rights movement and Black platoons in Vietnam, who co-founded the first Black radio network.
Yet Wood also gravitated to comedy from a young age, watching movies by the Zucker brothers and Nickelodeon shows like “You Can’t Do That on Television” and “Clarissa Explains It All.” When the cable company in his hometown of Birmingham, Ala., got Comedy Central, he discovered stand-up comedy, but it wasn’t until he was in college that he decided to give it a try. He started with open mic nights at nearby Florida State “so if I bombed, I could come back to the quaint quietness of my own campus.”
After graduating, instead of pursuing a job in journalism, he was hired as a morning radio host at the Birmingham station where his father had once worked. Because he was replacing comedian Rickey Smiley, whose prank phone calls were popular with listeners, Wood was forced to master the art too. “I did what I could to make them very effective, not realizing that in hindsight, those prank calls were the perfect training ground for man on the street interviews at ‘The Daily Show,’ ” he said.
He continued to hit the road and perform stand-up around the country. Wood’s early comedy was not very political, but as he grew older he began to explore socially conscious themes that were “innately buried in my subconscious,” he said, as a result of his upbringing in Southern, Black communities.
“The more hip you become to what’s going on in the world, you go, ‘Wow, this is what my dad was talking about. The government doesn’t care,’” he said. “All of those speaking engagements that I used to attend with my dad, where I was just in the back of the room playing my Game Boy and not paying attention, he was actually talking about some real stuff. That started becoming more evident in my work. Once I got ‘The Daily Show,’ I had to concede that I’m just a funnier version of my father.”
Wood joined “The Daily Show” just as the South African Noah was taking over for Jon Stewart, infusing the celebrated late-night show with a younger, more diverse, global perspective on the news. Wood’s tenure began a few months after Donald Trump announced his first run for the White House, overlapped with the rise of the Black Lives Matter movement, and spanned the COVID-19 pandemic and Jan. 6 insurrection. It was, to say the least, a complicated time to be making political comedy.
(Oliver Farshi / For The Times)
(Oliver Farshi / For The Times)
“The biggest thing I learned from watching Trevor Noah is to not let anger pollute your sense of humor. It’s infuriating what’s happening in America, but the moment you allow yourself to be consumed by the anger, you lose your ability to make fun of everything,” he said.
Wood recalls the episode taped on the day when the officer who killed Philando Castile was found not guilty. “I remember Trevor allowing not anger but compassion to drive the segment. As I recall, there wasn’t a single joke in that first act,” he said. “He just spoke sincerely to camera about where we are as a country. There were so many moments where Trevor could have used that pulpit to cuss America out, and he never did it, but instead he used calmness as a more precise scalpel.”
Noah abruptly left in late 2022, and a rotation of guests hosts, including Wood, auditioned to become his replacement. When it became clear that one-time front runner Hasan Minhaj wasn’t going to get the job, Wood started to worry that there was no plan for “The Daily Show” as it headed into an election year — and as massive changes were underway at Comedy Central’s parent company, Paramount Global. “At that point, Jon Stewart coming back was not in the conversation,” he said. “For me, it felt like, ‘What is life going to be like for me after ‘The Daily Show’? If they pick somebody that doesn’t want me as a correspondent, then what am I going to do next year?’ ”
He figured, “if I’m gonna have to eventually find a place to land, I should just start that process now.”
“Have I Got News for You” arrives at a moment of contraction for topical humor on TV, as networks scale back on the political programming that boomed during the Trump administration. But “Have I Got News for You” aims to fill a void for shows that fall in the middle ground between pop culture and politics. “We’re trying to discuss things that have stakes without putting stakes on them,” said Wood, noting that the show will tape Fridays, giving it an edge on late-breaking news.
“Roy is not a reporter, and he’s not a newscaster, but he certainly could be. He just happens to be hilarious,” said Ruffin, who hosted her own late night show on Peacock for three seasons. “Roy knows every current news story, but also the history of them, which is amazing to me. Even when you think, ‘Oh, well, he’s not gonna have the back story on this,’ he does.”
“Roy has a kind of gravitas. He feels like he belongs in that chair,” said Black, praising Wood’s ease as a comedian. “He just feels like a dude you might be hanging out with around the grill at a barbecue, whereas I’m the a— who’s going to be like, ‘Do you have impossible burgers?’ ”
Wood has been preparing by taking notes on Steve Harvey on “Family Feud,” because he is “the king of hearing something ridiculous, pausing and reacting to it and then getting the game back on track.” As for dream guests, he wants to book as many sitting politicians and newsmakers as possible, and hold them accountable — in a funny way. As he puts it, “Let’s laugh at the emperor for having no pants, and then let’s invite the emperor’s tailor on and find out, ‘Why did you not give any pants to the emperor?’ ”
And while he’s excited about “Have I Got News for You,” he’s keeping an open mind about the future.
“If ‘The Daily Show’ called, I’m not going to send them to voicemail,” he said, “but I am dating someone.”
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Entertainment
These 3 Disney movie songs, animated with sign language, are headed to Disney+
New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.
Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.
Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.
“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”
Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.
Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”
“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”
Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.
“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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