Producer, director & personality Eddie Huang sat down with Ebro in the Morning for an honest conversation about racism against the Asian community following the shooting at massage parlors in Atlanta. He also discussed some of the experiences he has had himself, and its effects in the community.
He also spoke about the passing of Pop Smoke, solidarity among different races in Los Angeles, his decision to leave the show ‘Fresh off the Boat,’ and more.
He directs the film, ‘Boogie’ which is in theaters now.
In this clip, Chris Hansen recalls the first episode of “To Catch a Predator,” and he admits that his nerves were high, as he states, “My heart was in my throat.” Hansen then revealed that everything was set up for the first two episodes- security, transcripts, actors, but there was no police involvement in the show. During the first show, things went as planned with the first two men he confronted, but the third attempt was a little shaky, as Chris grabbed the wrong transcript. Chris added that the third man was also the most aggressive and potentially dangerous. To hear more, including the police getting involved in the third episode, hit the above clip.
Make friends: The hardest part of making a movie is paying for it. Every person in your life becomes a potential investor or contributor. I enlisted all my friends. My assistant became my lead, my mom played a fortune teller, [the rapper] Despot was hanging out on set and became a character, half my rec-league basketball team is in the film. I made two of the songs for the soundtrack in Taiwan with dudes I met in the club, others donated locations, and friends of friends became heads of departments. Make friends, then make movies—together.
Practiceworking with actors:There’s a lot to keep track of as a director, but you can be terrible at everything as long as you do one thing well, and that’s working with actors. Every other department has a dedicated leader who is already incredible at what they do. You can get caught up trying to impress your DP with your knowledge of lenses or your production designer with your collection of fine china, but the only thing you actually have to handle is actors. That is the one thing you can’t fuck up.
The Ja Rule:As Ja once said, “Always there when you call, always on time.” I’ve heard horror stories about production delays, things running over budget, and directors being replaced. Growing up in restaurants, it was never okay to be late, short on the register, or wasteful with food. I brought that restaurant mentality to Boogie and told everyone that the schedule is the schedule and the days are the days. This is what is budgeted and this is what has to get done today. We’re all artists, but we’re also a business. The only way I get to make another film is if this one makes money. We finished principal photography on time and under budget—despite losing an actor to a threesome, where he got cracked over the head with a champagne bottle, amongst other unconscionable circumstances—because we said we would.
Go crazy: On the day you’re shooting a scene, it doesn’t matter how many movies you’ve watched or how many times you’ve storyboarded it, you have to be in it. You have to be with your actors, and on the journey, as a participant. One of my favorite scenes was written on set. One day, we finished early, so I threw Taylor [Takahashi, who plays the title character] and Jorge [Lendeborg Jr.] back on set, and gave them a deck of Monopoly Deal cards. I told Taylor, “You want to play cards instead of working on this school project because you don’t think school matters.” I told Jorge, “Boogie has basketball, you don’t. The only way you get to college is if you get him to work on this project with you.” It was my favorite scene to shoot because it reaffirmed the magic that can happen when a group of people put aside their fears and get after it.
Go away:After you shoot it, forget it. I spent way too much time editing and only figured the movie out once I stopped watching it. I’ve never had kids, but I do remember telling my parents over and over since the age of 12 to leave me alone, and I imagine that’s how my movie felt.
Its hard to predict whether Dick Gregory will be most celebrated as a path-breaking comedian or a trailblazing civil rights activist. Its impossible to imagine the history of either movement without him—or without his unique blending of the two. In the early 1960s, he became one of the first black comedians to perform before integrated audiences. In 1967, he ran for mayor of Chicago against Richard J. Daley, and a year later for president as the Freedom and Peace Party candidate. The author of and contributor to many politically charged books, Gregory is still a staunch, wry political voice across a range of issues as varied as nutrition, social justice, and the environment. Chicago Sun-Times columnist Laura Washington interviews the provocative and always unpredictable Gregory.
Famed comedian Godfrey opened up to VladTV about the media seemingly choosing to focus on one black comedian at a time. He explained that it definitely seems that way in the industry, and Godfrey added that he’s even asked to be more like Kevin Hart or Chris Rock when he goes out for auditions.
During the conversation, Godfrey also spoke about black female comedians not getting any respect in the industry, and being tired of people saying that black comedians are bitter.
To hear more, including growing up in Chicago, hit the above clip.
Comedians Godfrey and Andre Kim discuss junk food, ethnic restaurants, and Super Bowl Sunday. Plus, the guys discuss Utah allowing schools to opt out of celebrating Black History Month, a woman suing Gorilla Glue for ruining her hair. Plus, a new documentary about legendary comedian Patrice O’Neal leads Godfrey to reminisce on his greatest memories with Patrice. Real Talk (twice a week!) with Godfrey and Andre Kim, ONLY on In Godfrey We Trust Podcast!
For Season 2, Haddish turned to more seasoned professionals, some of whom she looked to when she was on the come-up, some of whom mentored her and offered her sage advice, and all of whom deserve more attention and credits from the industry and fans than they’ve earned so far. They are Godfrey, Tony Woods, Barbara Carlyle, Erin Jackson, Kimberly Clark, and Dean Edwards. Each get about 15 to 20 minutes to perform in individual episodes, with testimonials from Haddish. A seventh episode, “The After Show,” closes out the season with Haddish speaking to the group and asking them about their experiences on the road and in show business.
What Comedy Specials Will It Remind You Of?: If you haven’t already watched They Ready Season 1, then think of this as a throwback to the old Young Comedians shows that ran annually on HBO in the 1980s, or Rodney Dangerfield’s version of the same (only these comedians aren’t that young).
Memorable Jokes: They filmed this series last fall during the pandemic, and the opening episode finds Godfrey addressing the moment immediately, with jokes about how masks and a lack of salons have leveled the playing field for all women, in terms of their looks. He also offers up impersonations of his Nigerian cousins, his Chinese and Italian friends, and presidents Obama and Trump.
Godfrey pointed out how they filmed this showcase on the same stage in Long Beach where the late great Richard Pryor filmed his 1979 concert film, and yet how not much had changed in what they could joke about with regard to Black rights in America.
Perhaps the best part, if not the funniest, comes near the end of the whole season, when Haddish asks each of the comedians who they’d bring up next, as Haddish has done with them. That allows Carlyle to shout out Mugga, Edwards to talk up Harris Stanton, Jackson to wish for Paris Sashay, Godfrey to highlight Marina Franklin and Ian Edwards, Clark to tip her cap to Hugh Moore and Lexie Grace, and Woods to holler at Greer Barnes and Rondell.
Paying it forward, sharing the spotlight, always great things.
In this clip, Vlad explains to Godfrey why Jewish people have historically held jobs like lawyers and doctors throughout history and across regions. Later, Godfrey tells why he thinks Nick Cannon did the right thing by apologizing for his antisemitic comments and how the black community ultimately needs to establish self-sustaining communities like the Jews.
WWE and NBCU reached a multiyear agreement giving Peacock exclusive streaming rights to WWE Network for American viewers. The over-the-top wrestling entertainment service’s existing U.S. subscribers (about 1.1 million in total) will be migrated over to Peacock Premium, where they’ll continue to get access to WWE Network but will pay 50% less per month while getting full access to the version of the Peacock Premium tier with ads.
Peacock will launch WWE Network on March 18, 2021, when Peacock will begin the rollout of more than 17,000 hours of WWE Network new, original, and library programming (both on-demand and on a new 24-hour channel).
The NBCU streamer will have all WWE live events — for no additional charge — including WrestleMania and SummerSlam, with Fastlane the first event to stream on Peacock on Sunday, March 21. (WWE fans who would prefer to order events via traditional pay-per-view will still have that option.)
WWE Network will be available on Peacock Premium (which includes ads) for $4.99 per month, half the price of WWE Network’s current $9.99/month pricing. The no-commercials Peacock Premium Plus plan, which costs $9.99/month, also will include WWE Network.
The companies plans to share details of how existing WWE Network subscribers in the U.S. will be switched to Peacock (e.g., whether they will be automatically subscribed to Peacock) in the next few weeks. Nothing will change for WWE Network subscribers outside the U.S.
Financial terms of the Peacock-WWE Network pact were not disclosed. “We feel great about the financials. Otherwise we wouldn’t have done the deal,” said Nick Khan, WWE’s president and chief revenue officer, who joined the company last August from CAA. “To have WrestleMania in particular — which is our Super Bowl — available [for no extra cost] on Peacock is quite different from other models you’re seeing.”
For Peacock, the WWE Network is “a transformative addition,” said Rick Cordella, Peacock’s EVP and chief revenue officer. “We have a lot of data that shows live events and sports drives a lot of user acquisition,” he said. “The bet is that there exists a much larger total available audience [for WWE programming] than is on WWE Network today.”
WWE and NBCU (and its predecessors) have been partners for more than 30 years. “Monday Night Raw” on USA, the first regular cable program from the wrestling-entertainment company, debuted in 1993. “WWE has always tapped into the cultural zeitgeist with spectacular live events and larger-than-life characters, and we are thrilled to be the exclusive home for WWE Network and its millions of fans across the country,” said Cordella.
In the third quarter of 2020, WWE Network had average paid subscribers of 1.6 million, down about 60,000 from the prior quarter but an increase of 6% year over year — marking the service’s first annual growth since Q1 of 2019. The entertainment company originally launched WWE Network in February 2014, when it ended its traditional pay-per-view events business.
Starting in 2022, WWE will produce “one signature documentary annually” for the WWE Network on Peacock. Also available on WWE Network are about 100 hours of original series like “Steve Austin’s Broken Skull Sessions,” “Undertaker: The Last Ride” and the recently premiered “WWE Icons”; in-ring shows like NXT, NXT UK and WWE 205 Live, as well as replays of “Raw” and “SmackDown”; WWE Network archives, including every WWE, WCW and ECW pay-per-view event in history; and documentaries including “WWE 24,” “WWE Untold” and “WWE 365.”
Peacock’s content lineup includes a slate of originals, libraries of TV shows — including all episodes of “The Office” and “Yellowstone” — and films from Universal Pictures, Focus Features, DreamWorks Animation, Illumination, and other studios. In addition, the OTT service provides news, sports, late-night, Spanish-language, and reality from across NBCUniversal.
Peacock Premium now offers more than 47,000 hours of programming. NBCU also offers a free, ad-supported version of Peacock with a trimmed-down bucket of content.