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Brian and Maggie shows how a good interviewer can still reveal much about a subject that the subject does not necessarily want to reveal.Brian and Maggie shows how a good interviewer can still reveal much about a subject that the subject does not necessarily want to reveal.'Rest in peace, wheezy': Jimmy Kimmel's legacy of late-night demonization and hatred
The ABC television network nuked the poorly performing "Jimmy Kimmel Live!" show on Wednesday after its eponymous host suggested that the homosexual leftist arrested for allegedly assassinating Charlie Kirk was a Trump supporter and a member of the MAGA movement — an assertion that has no factual basis.
President Donald Trump congratulated ABC "for finally having the courage to do what had to be done" and called the show's cancellation "great news for America."
Liberal activist organizations, Democrats, and Hollywood script-readers who didn't make a peep when conservatives and populists were canceled in recent years rushed to condemn Kimmel's visitation by consequence, complaining of imagined government censorship and fascism.
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The liberal X knockoff Bluesky — where some leftists have celebrated Kirk's assassination — teemed on Wednesday with hysterical hot takes and the mantra, "I stand with Jimmy Kimmel."
Critics cognizant of the great pleasure that Kimmel took in demonizing conservatives and vaccine skeptics and in celebrating their cancellation appear less than sympathetic over his ouster. They certainly aren't buying the line that the liberal host is "some kind of free speech martyr."
'We've still got a lot of pan-dimwits out there.'
Some might recall, for starters, when Kimmel — among the corporate late-night hosts who wept bitterly over Trump's 2024 election victory and long pushed the Russia collusion hoax:
- insinuated that the president bore some blame for the alleged attempt on his life in September 2024 as well as for the 2018 Sante Fe High School mass shooting;
- suggested that Trump was a Nazi and that Rep. Marjorie Taylor Greene (R-Ga.) was a "Klan mom" in need of a slap;
- gleefully championed the imprisonment of the president;
- misrepresented HHS Secretary Robert F. Kennedy Jr.'s statements about the health consequences of the COVID lockdowns;
- called UnitedHealthcare CEO Brian Thompson's suspected murderer "the hottest cold-blooded killer in America" and shared messages supposedly penned by producers on his show expressing admiration for Luigi Mangione;
- celebrated when Alex Jones faced potential ruin, having been ordered to pay $965 million in damages over his suggestion that the Sandy Hook massacre was a hoax;
- smeared Tucker Carlson as a propagandist for the Kremlin, attacked Carlson for advocating against masking children outside, then joked at length about Carlson's exit from Fox News;
- made light of the heavy sentences given to Jan. 6 protesters, then later criticized Trump's pardons for the protesters, whom he referred to as "simpletons"; and
- condemned NBC for daring to host a Trump town hall event ahead of the 2020 presidential election.
Other critics might recall when Kimmel joined Stephen Colbert and other willing Big Pharma propagandists in spending years not only fearmongering but mocking those Americans who expressed concerns about taking the experimental COVID-19 vaccines — vaccines that were neither as safe nor as effective as promised — or resisted the draconian pandemic health protocols.
In September 2020, he attacked a Utah woman who protested against wearing masks, calling her "the world's dumbest person" even though it was clear early in the pandemic that masking was more theater than science.
Kimmel said in a May 2021 monologue addressed to those Americans who refused to get the vaccine, "If we don't get more people vaccinated, we could see new mutations of this virus and go through this all over again." He then once again strongly suggested they take the shot "as a public service."
The host also ran condescending clips belittling vaccine skeptics, in one case stating, "Grow the f**k up and get the vaccine." The video concluded with the caption, "Brought to you by people who are smarter than we are."
In September 2021, Kimmel suggested that hospitals should not treat the unvaccinated, particularly those interested in taking ivermectin.
"Dr. Fauci said that if hospitals get any more overcrowded, they're going to have to make some very tough choices about who gets an ICU bed. That choice doesn't seem so tough to me," said Kimmel. "Vaccinated person having a heart attack? Yes, come right in, we'll take care of you. Unvaccinated guy who gobbled horse goo? Rest in peace, wheezy."
Kimmel added, "We've still got a lot of pan-dimwits out there."
In January 2022, Kimmel ran a fake "anti-vaxx Barbie" advertisement that mocked Florida and Kentucky, insinuated a link between vaccine skepticism and anti-Semitism, and portrayed hesitancy about getting vaccines as moronic.
The ouster of a man who suggested health professionals should let the unvaccinated die, celebrated the financial and professional fall of those with differing viewpoints, and expressed delight over the potential imprisonment of his preferred candidate's rival appears to have earned him the disdain of some of those now happy to see his time slot freed up for a Charlie Kirk memorial.
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A stand-up comedian who worked for Ellen DeGeneres said success caused turmoil between DeGeneres and her staff.
Comedian Greg Fitzsimmons said he worked on "The Ellen DeGeneres Show" in its first two years. The daytime talk show ran for 19 seasons from 2003 to 2022.
Fitzsimmons was hired as a writer and said he and other staff worked for about a month without DeGeneres before the show launched to figure out the upcoming format. Describing the feeling with the host as "good energy" with pranks and a ping-pong table, Fitzsimmons said that feeling changed when DeGeneres joined the production.
'She's a control freak.'
"She was rough. She was the 'C-word,'" Fitzsimmons said on the "We Might Be Drunk" podcast.
Wave bye-bye
Fitzsimmons said he took on the role of audience "warm-up guy" because DeGeneres selected him, and he agreed because he is already a stand-up comedian and enjoyed the extra pay on top of his writer's salary.
While Fitzsimmons told podcast hosts Mark Normand and Sam Morril he felt like a hack for doing cheesy material to warm up the crowd of "closeted Midwestern housewives," the very first day he came out before DeGeneres, he set her off.
Fitzsimmons recalled telling the crowd, "I go, 'All right, let's do the wave.' I said, 'When I say banana, you guys just do the wave.'"
"So I say 'banana,' and they do the wave, and we all laugh. ... Then [Ellen] comes out to do the monologue, and what I had forgotten was that the word 'banana' was in the monologue. And now she hasn't seen the warm-up," Fitzsimmons recalled.
"Oh no," Normand reacted.
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'Control freak'
After DeGeneres attempted the monologue multiple times, with the crowd reacting to "banana" with the wave, Fitzsimmons said he finally went onto the stage to tell her what happened. This was the beginning of the end.
"She's a control freak. So this is like the worst thing that could ever happen," the comedian said about DeGeneres.
After he told her the reason the crowd was doing the wave, Fitzsimmons said DeGeneres "was f**king seething."
"I thought, 'All right, I'm getting fired for that.' But I didn't."
Fitzsimmons said from that point on, "everything got weird," and DeGeneres progressively got worse the more successful the show became.
"We started winning Emmys," the 59-year-old said, noting that he won four of his own. However, it was those accolades that made DeGeneres "start to be mean."
"She was back on top," he explained.
Pitching fits
Host Morril asked for further examples of DeGeneres having an issue with her staff, and Fitzsimmons put it simply: If joke pitches were not in her wheelhouse, DeGeneres "looked at you like you had just f**king stabbed her puppy."
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Normand, an edgy comedian who has a rational fear of backlash, asked Fitzsimmons if he has been scared to talk about DeGeneres because of possible retaliation. Fitzsimmons said he really didn't care.
The remarks come at a time when DeGeneres is facing years-old allegations about her treatment of staff.
The former host has not responded to the claims and is reportedly living in the United Kingdom after selling off her Santa Barbara home for a staggering $96 million.
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Writer Amy Sherman-Palladino thinks ballet can only be saved through gimmicks. She’s wrong.Here's to 'Bosch' — the best TV show of the last 10 years
Late last April, one of the most consistently excellent and criminally underrated series on television ended its 11-year run.
In a sea of prestige dramas trying to out-slick each other with flashy cinematography and convoluted twists, "Bosch" and its immediate sequel, "Bosch: Legacy," stood apart — grounded, methodical, and unflinchingly real. The two shows were not only crime procedurals; they formed an ode to justice, to the city of Los Angeles, and to the people who live in its shadows.
In a world of shrinking attention spans and algorithm-driven content, "Bosch" is refreshingly analog. It trusts the viewer.
Moral gravity
At the heart of both shows is Titus Welliver’s performance as LAPD Detective Hieronymus "Harry" Bosch. Welliver doesn't just play Bosch, he inhabits him, bringing a weary moral gravity to a character guided by the principle that “everybody counts or nobody counts.”
It’s rare to see a protagonist stay so consistently true to his code without veering into caricature. In Welliver’s hands, Bosch is not a superhero — he is a deeply principled man operating in a world that has long since stopped rewarding principles.
What elevates "Bosch" even farther is its ensemble cast — seasoned, nuanced, and richly interconnected. And for fans of "The Wire," "Bosch" is like a reunion tour of greatness.
Through the 'Wire'
Jamie Hector, unforgettable on the legendary HBO series as ruthless, up-and-coming drug kingpin Marlo Stanfield, plays Bosch’s partner Jerry Edgar with quiet complexity and an evolving conscience. He brings a calm, inward energy that balances Welliver’s intensity.
The late Lance Reddick, always regal and sharp, reprises another authority figure as Chief Irving, a political operator whose arc turns increasingly poignant as the show progresses.
Even the great Chris Bauer (who anchored season two of "The Wire" as tragic union leader Frank Sobotka) is a key figure in the final case of the final season, delivering yet another command performance.
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These appearances aren’t just fan service — they reinforce the show's commitment to realism. These are actors who know how to play the long, quiet game of institutional drama, bringing an authenticity forged in the crucible of David Simon’s Baltimore to Michael Connelly’s Los Angeles.
The soul of the show
As both executive producer and the author of the "Bosch" novels (read them!), Connelly is the soul of the show, ensuring that it never loses the vivid and precise understanding of L.A.’s criminal ecosystem — from the politics of the LAPD to the ghosts of the Hollywood Hills — so evident in the books.
"Bosch" is also paced like a novel: patient, rich in detail, and unconcerned with the need to manufacture drama. Instead, tension arises naturally from the characters' decisions, regrets, and stubborn decency.
Unlike much of contemporary television, which seems obsessed with style over substance, "Bosch" is anti-glamour. Its color palette is sun-bleached and realistic, its villains often mundane and terrifyingly human. Its cops aren’t action heroes, but working-stiff detectives who make phone calls, pore over reports, and follow leads with grit and intelligence. There are no melodramatic shoot-outs without consequence — just slow justice, often paid in pain.
An 'earned' sequel
After "Bosch" ended after seven seasons in 2021, Welliver reprised the character in the 2022 sequel "Bosch: Legacy." Now retired from the LAPD, Bosch is a private investigator who often finds himself working with his one-time professional nemesis, defense attorney Honey "Money" Chandler (Mimi Rogers).
"Bosch: Legacy" avoids the common pitfalls of spin-offs. Its elevation of Bosch's daughter Maddie Bosch (Madison Lintz) to a central figure is earned rather than forced. The show evolves naturally, expanding the "Bosch" world without abandoning its roots. Connelly and his team know their audience isn’t looking for reinvention but rather continuity, truth, and character. And they deliver.
Refreshingly analog
In a world of shrinking attention spans and algorithm-driven content, "Bosch" is refreshingly analog. It trusts the viewer. It tells hard stories about justice, loss, race, and power in L.A. without shouting. It makes you care, then makes you wait. And when it finally hits its emotional beats, it hits like a freight train.
So here’s to "Bosch" — a show that never chased trends, never insulted its audience, and never wavered in its dedication to storytelling.
With a dream cast that bridged generations of great television ("The Wire" alumni among them) and the steady hand of Michael Connelly guiding the ship, "Bosch" was the best show on TV for a decade.
"Bosch" will live on, of course, available on the usual sites to be revisited by longtime fans and discovered by new ones. As "Bosch" inevitably cedes its place in the culture to newer, shinier entertainments, we can appraise its achievement as a whole and call it something else: a classic.
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