A little more about that industry-shaking first telecast of what was later called Saturday Night Live. As I've mentioned before here, it's interesting how much Lorne Michaels had to fill that ninety minutes. We tend to think of that program as mainly a sketch show but in addition to comedy sketches, the first episode featured…

• Stand-up comedy. George Carlin hosted and he did three stand-up spots. There was a monologue by Valri Bromfield and Andy Kaufman did his record pantomime to the theme from "Mighty Mouse." (An additional stand-up spot didn't get in. Just before airtime, a kid named Billy Crystal was told he'd have to trim his routine to the bone and at the advice of his managers, he walked.)
• Two musical acts: Janis Ian and Billy Preston performing two numbers apiece.
• "The Land of Gorch" featuring the Muppets.
• A film by Albert Brooks.
• A spot with Paul Simon plugging his appearance the following week.
• Five pre-recorded parody commercials.
• Weekend Update with Chevy Chase.

Not only that but though the sketches were few in number, he had nine performers available to be in them…

The roster of the Not Ready for Prime Time Players changed a bit in the following weeks. George Coe was on the show a couple more times but I think he was only in the opening titles once. Michael O'Donoghue was on and off this list but after the fourth or fifth show, no longer billed, even though he was on the show a number of times. Some people think the show was thrown together at the last minute but let's take a look at the TV Guide listing which had to be submitted around ten days before the show aired…

That's reasonably accurate.  Apart from the misspelling of Dan Aykroyd's name, there is the omission of O'Donoghue, Coe and Chevy Chase from the listing…and Chevy got more camera time on that episode than the others in the N.R.F.P.T. Players.  Knowing how agents will often fight over the order of clients' billing, I'm wondering how the on-screen list was ordered.  The TV Guide listing looks like they just took the first six names from the same list and alphabetized them.

But you can see that the challenge of that first show was not so much of what to do on it but what to throw out.  And it was then being sold as a variety show with music rather than a comedy show with music breaks.  The following week with Paul Simon hosting and musical guests Randy Newman, Phoebe snow, Art Garfunkel and the Jesse Dixon Singers, it was a music show with sparse comedy spots. It took a few week to figure out what the show was.

The current SNL always feels too overbooked to me. This season, the "repertory company" (no longer the Not Ready for Prime Time Players) usually has twelve names plus there are five or six "featured players" and a couple of writers who always seem to sneak in. Even with that, the most visible, notable sketches often cast most of those 17 or 18 performers aside in favor of an Alec Baldwin, a Steve Martin or anybody else with the mantle of Movie Star. In what were for me the show's best years, the stars each week were one guest host plus eight rep company folks and three or four featured players.

I tend to not watch it as a program anymore. I watch excerpts on YouTube. A friend of mine who watches every episode thinks it's still a pretty good show but "there's rarely anything entertaining after Weekend Update and if the cold opening is bad, most of what follows will be, as well." And though he watches every week all the way to the end, he still doesn't know who some of those people are.

We start off Today's Double Feature with the Mel Brooks movie that no one I know ever saw or even heard of. It's Dracula: Dead and Loving It from 1995…

And then we have Top Secret! from the folks who brought you Airplane! This is from 1984 and I thought it deserved more attention than it received…

Folks keep asking me if I've seen the new movie about the launch of Saturday Night Live and if so, what I think of it. I haven't seen it and since I'm not leaving my house much these days, I probably won't see it until it's streaming on some channel to which I subscribe. (And to answer another question which some have asked: No, I haven't discussed it with Laraine Newman either.)

Some of my friends have seen it and loved it. Others have had a very different reaction. I'll make up my own mind when I see it. But among the subset of friends who didn't like it is my longtime pal Marc Wielage, who knows darn near everything about television production and he wrote the following. I thought it made enough interesting points that you might be interested in what he had to say. Remember, these are Marc's views, not Mark's…

Somebody asked me elsewhere what I thought about the Jason Reitman's Saturday Night movie. I had a lot of problems with it. [Be warned — long post.]

1) To me, what he really created was a Saturday Night Live's Greatest Hits movie, rather than the story of how a gang of creative comedians, sketch actors, and writers came together to create a very important and influential late-night comedy show that has lasted 50 years. It was just an excuse to shoehorn in dozens of unrelated SNL bits and moments ("Save the Liver," etc.), almost all of which didn't happen anywhere near 1975. In fact, you can very truthfully say that the first October 1975 episode was very atypical; it took them 4 or 5 episodes before they "found their voice" in figuring out how the show would be constructed, week after week.

2) there are so many anachronisms in the film, I don't know where to start. Milton Berle would not have been in the building doing an NBC special on October 11th, 1975, because all the technicians would have been on overtime. He would've taped it in Burbank on Monday-Friday, 9AM-6PM, when people actually worked a regular shift.

3) They depicted a lot of real-life character conflicts that I don't believe happened on that day. True, Michael O'Donoghue had said on more than one occasion that "George Carlin was a pony-tailed vulture feeding in the corpse of Lenny Bruce," but I don't believe for one minute that he'd ever say it to his face, let alone an hour before showtime. Lorne Michaels was a very controlled, calm presence 99% of the time: he would never tear down a bulletin board and kick it into the hallway, as depicted in the movie.

4) lots of stuff was jammed into the movie that just never happened: the NBC union technicians were very good, and nobody would drop a heavy light onto the stage floor. (For one thing, the lights are double-secured in the grid with a chain, and if they fell, the chain would stop them from hitting a person or the floor.) The movie acts like many of the cast & crew were meeting for the first time on that Saturday night, when the truth is that they had been rehearsing for weeks together. The "Fred Garvin, Male Prostitute" sketch didn't appear until 1979, so again, it's completely false to pretend it was ever rehearsed in 1975. The "French Chef / Save the Liver!" sketch didn't appear until late 1978, so it would have been impossible for Lorne Michaels to be doused with fake blood on the 1975 opening show. Lorne Michaels never would have had to smash the glass of NBC's door in order to get into the building. They hire a random lighting director at the last minute because of malfunctions in the show? Wouldn't happen. The movie shows Belushi being 15 seconds late at entering for the first sketch ("Wolverines"), but if you look at the actual video for the show, he's right there in the first 5 seconds.

5) there's technical mistakes that bothered me: when they stop a VTR to look at a shot, it shows a still frame. Nope, we didn't have that capability for at least 5 more years, when the industry changed from old 2" quad tape to newer 1" helical tape. The NBC cameras were the correct RCA TK-44B's, but in the movie they're labeled "Studio 8H" on the side instead of "NBC Color," which is how NBC identified their cameras for most of the 1970s and 1980s. (My guess is there may have been a trademark problem using the NBC Peacock logo.) When they show the 2" VTRs in a room with actors, the VTRs make very little noise; in real life, they whine like a bandsaw and you have to yell if you're standing right next to them. There's much ado made of somebody insisting that a real brick floor be constructed in Studio 8H…but that never happened, because they need the entire surface of the floor to be perfectly smooth to roll the cameras and sets around. There's no need to use real bricks on TV — fake bricks look just as real from 3 feet away.

6) there was some amazing casting: Cory Michael Smith as "Chevy Chase" doesn't look that much like Chevy, but he certainly captured his arrogant, funny, obnoxious attitude; Lamorne Morris was perfect as "Garret Morris," so much that I couldn't distinguish the two from a line-up; and I laughed that the same guy who played Jim Henson (Nicholas Braun) also played Andy Kaufman — and I doubt that anybody noticed, because his performance was perfect. Gabriel LaBelle as "Lorne Michaels" was a bit more of a stretch, because he's only 25 and the real Lorne was already 31 by the time the show premiered. J.K. Simmons was perfect as the pontificating Milton Berle. But there was also some terrible casting: singer Janis Ian was only 24 years old in late 1975, and the actress playing her looked a lot older. Also, the guy they hired to play Paul Shaffer looked like he was about 40, but in real life, he was only 26. I also think the women (Gilda, Laraine, Jane) were almost interchangeable, to the point where they had to use their names in conversation so you'd know who they were supposed to be.

7) there was also incompetent writing: NBC staff announcer Don Pardo was a consummate professional who wouldn't be caught dead mispronouncing any names (as depicted in the movie). They showed a knock-down/drag-out fight between Chevy Chase and John Belushi, but the truth is their rivalry didn't build to a head for another year. They were friends at this point, and in fact, Chevy had lobbied for Belushi to be on the show (since they had both been on the National Lampoon Radio Hour in the previous years). They wouldn't wait until 30 minutes before air time to hand Jim Henson the Muppets sketch script — this would've been rehearsed 19 times over the previous few days. (But it is true that Michael O'Donoghue detested the Muppets and resented them being on the show; they exited a few months later.)

8) there's a bizarre moment where Lorne Michaels attempts to do the "Weekend Update" news himself — Michaels had actually done sketch comedy in Canada in the past few years — but at the last minute, he stops and hands the script to Chevy and says, "you know, I think you'd be better doing the news than I would." Actually, Chevy in real life says he rehearsed the news for five days prior to the live show. But it's true that Lorne thought for a day or two that maybe he should do it, but quickly realized Chevy was a better choice. The movie constantly reinforces the cast's abject terror at being on live TV in front of millions of people; but Jane Curtin says, "We rehearsed all the sketches for that first show dozens of times before Saturday, so we were all actually pretty relaxed and comfortable on opening night."

9) a lot of stuff that just plain never happened: they never "ran into" Milton Berle in the studio the night of the first show. It's true that Milton was a guest on the show in 1979, but that was 4 years after the first episode. And it is true that Berle was very obnoxious, displayed his endowment to some of the cast & crew, and was difficult to the point where Michaels ruled that that episode should "never be re-runned." (It was later included on the DVD boxed set and streaming episodes.) Also, John Belushi never walked off the show just before air time. It's true there were some nights where he was out of it or blitzed on drugs, but he always got it together and made it on the air — it's a completely false moment that never happened. (It's also true that Belushi hesitated before signing his network contract, but it wasn't as dramatic as depicted in the movie.)

10) there's a constant threat by NBC executive Dick Ebersol to run a Tonight Show rerun in place of the Saturday Night premiere, because the show is falling apart so badly up until 11:30PM. At one point, Carson himself calls the network and chides Michaels, almost daring him to fail…when the reality is that Carson wanted a new late night show on Saturday nights so his own variety show wouldn't be over-extended. I also think that generally, Carson was a fairly classy guy who wouldn't taunt people this way…at least, not before opening night. (Carson did bitterly complain to NBC by the 1980s, when SNL started making fun of him on the air.) What was more frequently done is they'd cue up a dress rehearsal tape and run it in sync with the live show, so in case there was a disaster (set falling over, actor unable to make it to the stage), they'd cut to the tape for that one sketch. And I don't think that ever happened, at least on the East coast live feed.

So to me…it's a terrible movie. If you're going to make a dramatic film about a real-life historical TV event, the rule is make it accurate, make it real, and don't shove in a lot of "cool stuff" just for the sake of making it funny. The real drama of the show was in the writers' room, it was in all the sketches that got thrown out right before air time, and the disappointment of the actors and writers who didn't get to get on the air. (We see a little of that with Billy Crystal, who famously was cut from the show and walked off, because he felt they had disrespected him.)

This is Mark with a "k" again. Without commenting on the quality of the film, I agree with most of Marc's points. I do seem to recall Don Pardo making a few on-air gaffes over the years in spite of his centuries of announcing. I doubt Johnny Carson made the alleged call but I also know that Carson was pissed at a number of things about SNL, starting with the fact that he'd been assured the new series wouldn't tap into the pool of guests who frequented The Tonight Show and then they went and got George Carlin to be the first host.

Things like the wrong logo on the cameras doesn't bother me. False dramatic content might. I've seen a lot of films like W.C. Fields and Me and Stan & Ollie that departed wildly from the true stories when the true stories would have been more interesting. Anyway, I'll see it one of these days with the hopes it'll be wonderful. I pretty much hope that any movie I spend the time (and maybe the cash) to see will be wonderful. I'm sometimes disappointed.

I forgot to mention it but Tuesday was a very bad day to be Rudy Giuliani. There have been a lot of days in the last few years when you were very fortunate to not to be Rudy Giuliani and I'm sure there are more to come. But Tuesday was an especially bad day to be Rudy Giuliani.

I've probably said this here before but I do not understand — and I do not expect to ever understand — how someone can reach a moment when he's widely respected for courage and heroism…and then become a figure who is loathed and ridiculed and losing it all and at least somewhat likely to wind up in prison.

In a way, it's like rich 'n' famous people — and we've all seen them — who have $40 million and wind up declaring bankruptcy and perhaps losing their homes. It's not like one day, you have $40 million and the next day, you're broke; not unless you went out and bet the $40 mil on the Mets. Someone who has $40 and loses it all one day goes from 40 to 39 and a few weeks later to 38 and a month or three later to 37 and so on until it's all gone. Don't you at one point think, "Hey, I've gone from $40 million to $20 million…I think I'm doing something wrong here"? Don't you suddenly feel some need to change course?

When I've discussed this in the past, I get a lot of folks telling me, "Rudy was always like this." Okay, maybe. But there was a moment when he at least had the image as a hero and a person to be admired. I guess that didn't mean anything to the guy.

Jack Jones was one of my favorite singers. I saw him perform several times in Vegas — twice as Sky Masterson in a production of Guys and Dolls that was parked for a long time at the old Desert Inn. He wasn't altogether convincing as the character when he spoke but nobody ever sung those Frank Loesser songs better. I also saw him and a decent-sized orchestra in the showroom at the Orleans and he was funny, charming and — again — there was that terrific voice.

And yes, at the Orleans he sang the theme from The Love Boat and all his many hit records. But he tackled a wide range of musical styles and told some genuinely funny anecdotes between tunes. He was really a great entertainer. There's a fine overview of his life and career over on his website.

I never met him, never got to tell him what a fan I was of his work…and the only anecdote I ever heard about him is the one about the time he was on with Ed Sullivan, who was famous for his awkward intros and clumsy gaffes.

After you performed on Ed's show, you usually went over and shook hands with him and engaged in a short bit of banter. During that banter moment at an afternoon rehearsal, Ed asked him about his father — Allan Jones, himself a popular entertainer best remembered for his roles in Marx Brothers movies. Ed asked Jack, "Wasn't Allan Jones your father?" Jack replied, "He still is."

It got a laugh from the dress rehearsal audience and the crew so Ed said, "Let's keep that in. When we do the show tonight, I'll ask you the same question and you give me the same answer." Jack said fine, sure, great.

That evening, they're on the air live to all of America. Jack finishes his spot, walks over to Ed ready to say the line and Ed asks him, "Is your father still alive?" I wish Jack Jones were. I'd sure go see him again.

Hey, you like movies where Burt Reynolds drives fast cars and all the women love him? Then you'll love Smokey and the Bandit from 1977…

And if you loved Smokey and the Bandit from 1977, you'll probably love Smokey and the Bandit II from 1980…

And finally, you might even like Smokey and the Bandit III from 1983. This is the one with almost no Burt Reynolds in it…

Gotta admit: I'm still kinda curious if there was any sane reason for Donald Trump to tell that Arnold Palmer story at his speech the other day. Was it really just as basic as this: He says whatever pops into his head and that just popped into his head? If he gave it a moment of thought, he must have known that it would piss some potential voters off. And that it would almost guarantee a comment from Stormy Daniels like this.

The closest thing I can think of to a logical reason — and I'm not suggesting this is logical but he might — is a belief that the worst thing for him is to not attract attention even if some of it is negative.

Ron Ely played Tarzan on TV in a 1966–1968 series and had the title role in the 1975 movie Doc Savage: The Man of Bronze. He was great in both roles and in his many other film appearances which included South Pacific, The Fiend Who Walked the West, The Remarkable Mr. Pennypacker, The Night of the Grizzly, Slavers and many more.

He was a frequent guest on TV shows and starred in two others — The Aquanauts and a revival of Sea Hunt. Later in his career, he became a popular TV host for things like the Miss America pageant and the game show, Face the Music. And he really was a great Tarzan on that series, sustaining any number of injuries because he insisted on doing most of his own stunts.

Ron just died at the age of 86.  No cause has been reported but his daughter Kirsten issued this statement…

The world has lost one of the greatest men it has ever known – and I have lost my dad. My father was someone that people called a hero. He was an actor, writer, coach, mentor, family man and leader. He created a powerful wave of positive influence wherever he went. The impact he had on others is something that I have never witnessed in any other person – there was something truly magical about him. This is how the world knew him. I knew him as my dad – and what a heaven sent honor that has been. To me, he hung the moon.

Ron and I met when I was seated next to him on an Edgar Rice Burroughs panel at the 2012 Comic-Con International. I introduced myself and mentioned that I'd had a bad experience with a certain TV producer that I knew Ron had worked with. I was kinda gambling that that would result in an instant bonding but it was like betting that Alaska would go Republican. Ron said, "Well, I hope he didn't screw you over as badly as he screwed me over" and we were instant friends.

I told him (honestly) that I thought he was a great Tarzan…and pretty damn good in everything else I'd seen him do. After the panel, we stood in the hall talking until I had to race off to my next one. I was very glad to have had that brief time with him and I've very sad to think that there can never be another. One of the good guys, indeed.

First of all, thanks to a whole bunch of you who've sent in questions so I no longer have to write about Celebrity Penis Sizes on this blog. (It does occur to me that if any Democratic candidate for president had told that story in a public speech, every single person who has or is about to vote for Donald Trump would say that it alone is reason enough to not vote for the candidate who told it.)

I have two questions here from William Dodson who says that he's from "Lavergne (not Shirley) TN. The first one is…

Is Maggie Thompson of the Comics Buyers Guide still around? I miss that paper.

Maggie is absolutely still around. She was a Guest o' Honor and panelist at the Comic-Con and I need to call her today as we're working together on the next volume reprinting Walt Kelly's Pogo. She's one of my favorite human beings so she'd better still be around for a long time. Next question..

Just exactly what does the director of cartoon shorts do? As opposed to live action directors. Guys like Chuck Jones and Fred Quimby especially.

Well, first off, Fred Quimby was a producer, not a director. He had very little to do with the content of cartoons that had his name on a title card except to hire folks to make those cartoons.

What a director like Chuck Jones or Tex Avery did back in the days of theatrical animation was basically to be the boss of the entire production. A director then had final say on the story and dialogue and then either designed the characters and storyboard or supervised those who did. He also "cast" the voices and directed the recording of them and approved the music and, well, basically he was the guy in charge.

There are those who would tell you that there is too much of a tendency to treat those men — they were all men — as if they were the sole makers of those cartoons. A few directors either believed that or found it was good for their careers to act like that was the case. I had a brief friendship with one of the great storymen, Michael Maltese, before he died. If he hadn't died, he'd be around today telling you how many of the ideas and characters and gags in cartoons he worked on were his invention, not the director's.

There are many different divisions of work in animation for television today but basically, the word "director" usually denotes the person who works out the timing sheets. He or she may have had nothing to do with the script or the storyboard or the voices. He or she may have had nothing to do with the character design or the coloring or the backgrounds or the final assembly and editing. Or he or she may have done some of that. It varies from studio to studio and even on show to show within the same studio.

I had an unpleasant relationship with a director who only did the timing sheets but who insisted on acting like he was the "auteur" (and I believe he used that noxious, self-obsessive noun) on the cartoons he directed. There are directors who are all that he claimed to be but when you have to produce an episode a week — and you're shipping them off to Korea for animation and you neither go there nor speak their language — you really can't be the sole creative force in the process.

So the answer to your question is that it varies. I worked on cartoon shows where I was the main creative supervisor and I worked on some where I was just one stop along a very long assembly line…and you really can't tell which was which just by looking at the screen credits. Thanks for asking, William.

Today's Double Feature stars a man who at one point in his career could have been voted "Least Likely Actor In Hollywood To Ever Become The Number One Star Of Comedies." Here's Leslie Nielsen as Lieutenant Frank Drebin in two of his highly successful comedies…

First, we have The Naked Gun 2 1/2: The Smell of Fear from 1991…

Then we have Naked Gun 33 1/3: The Final Insult from 1994 And don't call me Shirley…

I don't have anything in mind to write about here today. Oh, I have plenty to say about the election but even I'm getting tired of reading me writing about that. Someone send me some questions about show business or comics or writing or anything like that.

The last real KMart in the country closed today. For some unknown reason, I followed the demise of that once-strong company in all sorts of articles and analyses and I came to the conclusion that it was done in by two things. One was the rise of Amazon and other companies that have made it way too easy to shop from home. The other was really, really inept management. And I assume all those really, really inept leaders got paid really, really well for doing everything wrong.

I also see that Denny's is closing outlets, which suggests to me there's no real middle ground these days between restaurants you go to because they're cheap and restaurants you go to because they're good. I also wonder to what extent The Pandemic forced a lot of people to learn how to cook at home, making a trip to a place like Denny's less necessary.

On the other hand, In-N-Out Burger is opening new places every day including — soon — its largest-ever location. It's in Las Vegas and it'll be on the top floors (plural) of a new shopping center on The Strip. It will be over 10,000 square feet with 2,500 of that square footage being an outdoor patio seating area. That ain't bad for a place that mainly offers hamburgers and french fries and nobody likes their french fries.

Meanwhile, I see a number of discussions on the Internet as to which famous person had the biggest schlong — Milton Berle, Forrest Tucker or Arnold Palmer. And I have to wonder what the point of that discussion is and how anyone could possibly have any evidence as to the precise measurements of any of them. At most, there may be some people around who caught actual glimpses of one of them…but only one. And someone, quick, give me a new topic before I'm forced to elaborate on this one.

It is our mission here at newsfromme.com to always bring you the most important developments. So…

MILWAUKEE – This morning, the National Bobblehead Hall of Fame and Museum unveiled an officially licensed, limited-edition series of The Three Stooges Talking Bobbleheads featuring Moe, Larry, Curly, and Shemp. The unveiling coincides with Curly's birthday, which was on October 22nd, 1903. Each bobblehead is unique in capturing the comedic stylings of the beloved slapstick comedy team. The special edition bobbleheads were produced by the National Bobblehead Hall of Fame and Museum, licensed from C3 Entertainment, the company founded by the Three Stooges themselves, Moe Howard, Larry Fine and Curly Joe DeRita.

Bearing their name on the base, each talking Three Stooges bobblehead, which plays a familiar saying at the touch of a button, is unique in capturing the comedic stylings of the beloved slapstick comedy team. Each bobblehead is individually numbered to 2,024, and they are available through the National Bobblehead Hall of Fame and Museum's Online Store. The bobbleheads, which are expected to ship in early December, are $35 each or $135 for the set of four plus a flat-rate shipping charge of $8 per order.

I just admit that I feel very uninformed to not know that there is a National Bobblehead Hall of Fame and Museum. I intend to visit it the next time I'm in Milwaukee, Wisconsin which — whenever that is — will be the first time I've ever been in Milwaukee, Wisconsin. I guess I never had this good a reason to go there before.

Have you ever seen a product that made so much sense before? The Stooges kind of were bobbleheads in real life and these new releases will give us all the chance to feel like one of them. You'll be able to slap Larry and watch his head bounce up and down just like it did in the films. I hope these are successful but that they're soon joined by bobbleheads of Curly Joe DeRita, Joe Besser and Joe "Fake Shemp" Palma.

I'm amazed to read that Bob Yerkes just died at the age of 92. Why is that amazing? Because Bob Yerkes spent his life diving out of windows, dangling by cables, swinging on trapezes, clinging to clock towers, being set on fire, etc. He was not just a stuntman. He was a superstar stuntman, one of the most in-demand guys producers would want to hire when they had a dangerous feat which had to be done. You can read more about him in this New York Times obit but I'll quote just this much here…

Mr. Yerkes (rhymes with "circus") performed stunts in the films The Towering Inferno (1974), Poltergeist (1982), Ghostbusters (1984) and Who Framed Roger Rabbit (1988), as well as on television in Gilligan’s Island, Wonder Woman, Starsky and Hutch and Dukes of Hazzard. He was concussed more times than he could remember.

And that's about 3% of all he did. He also trained a vast array of stuntpeople and professional acrobats. Every trapeze artist I've ever met (about six) trained under and loved Bob Yerkes.

He was one of only two people I've met — the other is Sid Krofft — who actually ran away from home at an early age and joined the circus. I met Bob when I was working on That's Incredible! and he had amazing stories about doubling for just about every action hero-type in show biz, doing things that you or I wouldn't do for any amount of money. I find it amazing that he made it to 92 and that he didn't die from leaping off a burning building or something. The cause of death was pneumonia. He was a fascinating man and probably the closest thing to a real-life super-hero I'll ever encounter.

Here's Rachel Maddow with one of the best "Why you shouldn't vote for Trump" messages I've seen in this election. And we've all seen a lot of them…

And here's Devin "Legal Eagle" Stone with an overview of past Trump criminality and a summary of things Trump says he'll do if he gets back into the White House…

And here's Jake Tapper debunking the claim — made by apparently no one — that ABC conspired to rig the Trump/Harris Debate against Trump…

And here's the latest legal trouble Trump seems to be in…

I know this is a lot of anti-Trump stuff and I'm probably preaching to the choir here. I just think it's amazing that there are so many reasons to vote against this man but some people are still doing it.

Last Week Tonight with John Oliver is off this week…and when they take a week off, they generously upload an entire past season to YouTube. All of Season 6 (2019) is now online for your viewing pleasure at this link. Enjoy. I know I will.