On Sunday evening, the show won the Emmy Award for Outstanding Scripted Variety Series—its ninth win in a row—and as senior writer on the show, Vali took home his eighth Emmy for Outstanding Writing for a Variety Series, a dynastic run of critical success that he calls “humbling.” The show, which each week takes an irreverent deep dive into a broad range of issues like net neutrality, televangelism, and predatory lending, also earned Vali a prestigious Peabody Award in 2018. Fordham Magazine spoke with the 2010 Fordham College at Rose Hill grad about the role comedy plays in tackling big issues, why Oliver is so good at what he does, and, naturally, the thrills of ice climbing.     

What are some of the big differences you encountered going from a print/digital publication to working on a weekly TV show?
I think the biggest thing is that here, there’s such a heavy research element to the show. Obviously we did research at The Onion, and we wanted things to be accurate in the world of the stories, but we weren’t really consulting experts from Harvard about anything.

To give you a rundown of how we make a story, a topic is pitched and the research team will compile a document that can be 100 pages, like “I’ve talked to people at Boeing, I’ve talked to people who are experts in aviation at various universities.” And meanwhile, the footage department will compile documentaries and news reports, all sorts of footage, as well as funny clips that we could potentially use. Most stories here are a four- or five- or six-week process.

Another element I’m really interested in is that you’re writing for a specific person—a specific voice—in John Oliver. How did you get used to writing things for his particular delivery?
It was its own bit of a learning curve. But then once you know where the boundaries are and what works and what doesn’t, you can just have fun.

To John’s credit, I think he does a great job of adopting elements of our comedic voices as writers. So there are definitely jokes where he’s obviously speaking as himself, but I am injecting my comedic sensibility in there as well, and he is manifesting that. It’s a cool two-way street where we’re writing for his voice, but he is also giving us the freedom to write in our own voices and he will find his own way to perform it.

How would you describe what makes something funny coming from him?
He has a humongous comedic range, which is why I think he’s able to manifest different writers’ voices. I always write long runs with him being obsessive over weird things, where he’ll zero in on some weird esoteric thing that is only tangentially related to the topic of the show and talk about it for six minutes—where he’ll be really into weightlifting or really into horses or really into aquatic life. Those are always really fun for me. I feel like it gives us the opportunity as writers to obsess over those topics.

While it’s not necessarily focused on electoral politics, Last Week Tonight is certainly a political comedy show in some ways. What do you see as the societal role of that style of comedy?
I think everyone falls on a different spot on that map of making people laugh versus taking a more activist approach towards what you’re writing. The kind of comedy and satire that I find to be the most effective is when you’re talking about something that’s a really difficult issue, but you’re finding a moment of catharsis that everyone can collectively feel.

I don’t know if we’re going to change anyone’s mind on anything. I’m guessing that most of the people who watch this show are probably more politically aligned with us than not. But I do think if you can make them think about something in a way that they hadn’t before, that’s a success. And if you can do that while making them laugh and entertaining them—that’s what I strive to do.

One thing that I think is smart about the show is that there are often built-in calls to action—and some of those are really funny calls to action that speak to the absurdity of a situation.
Totally. And I think we like highlighting things that are maybe on the more boring side or technical side of politics—something as technical as gerrymandering or zoning. It’s cool to put a magnifying glass on things that can go under the radar but that are actually really important.

Between seasons, I’m sure there’s a lot of work being done, but presumably you have at least a little bit of a break there. How do you spend that time?
Yeah, we usually get about seven or eight weeks between seasons. It’s really nice to have a break to decompress and work on my own personal writing. And I also really like ice climbing, so I go to western Colorado and ice climb for a few weeks, which is always fun.

Oh wow, ice climbing?!
Yeah, I started getting into it around 2019. I tried it for the first time and I started getting super into it. There’s a place in southwestern Colorado called Ouray that actually has an ice climbing park. It’s a gorge that they water and they actually make ice on it. I’ve been going there for a few weeks every year for the last few years. Just getting to play in this ice wonderland for a few weeks is a nice way to decompress after the season, and then I feel like I’m rebalanced and ready to go for the new one.

Interview conducted, edited, and condensed by Adam Kaufman, FCLC ’08.

Fordham Theatre alumna Betty Gilpin, FCLC ’08, has once again been nominated for Outstanding Supporting Actress in a Comedy Series for her portrayal of Debbie Eagan in Netflix’s GLOW. The comedy series from the team behind Orange Is the New Black centers on a crew of misfits in 1980s LA who reinvent themselves as the “Gorgeous Ladies of Wrestling.”

In a recent interview with The New York TImes, Gilpin echoed a sentiment she previously shared with graduating Fordham Theatre students in 2016: Embrace the weird.

“We studied a lot of theater of the absurd at Fordham and ‘building your inner ocean of weird’ was the thesis statement,” she told the Times. “Then graduating and auditioning for things like Gossip Girl, where the No. 1 priority is muffling your ocean of weird and curling your hair, I didn’t work for a while because I was bad at both the muffling and the curling.”

This is the third consecutive year in which Gilpin has been nominated for the award; perhaps this third time will be the charm for “weird.”

Dylan McDermott, FCLC ’83, has been nominated for Outstanding Supporting Actor in a Limited Series or Movie for his portrayal of Ernie—the owner of Golden Tip Gas, a service station that doubles as a high-end brothel—in Netflix’s Hollywood. The Fordham Theatre alumnus was last nominated 21 years ago for Outstanding Lead Actor in a Drama Series for his role as Bobby Donnell in ABC’s The Practice.

In the emotional drama, a group of aspiring actors and filmmakers will do virtually anything to realize their showbiz dreams in post-World War II Hollywood.

In May, McDermott told Town & Country that he drew inspiration from real Hollywood greats, his own imagination, and a documentary on Scotty Bowers, on whom Ernie is based.

“I certainly watched the documentary on Scotty Bowers and got useful information out of that,” he said. “I also used Clark Gable as my muse for this role. So, between the information I had from watching great movies from the 1940s, what was in my own imagination, and what was on the pages of the script, it all came together. That’s the great thing about collaboration, whatever comes out can be magical and I certainly feel that’s happened on this show. There’s nothing like this on television, that’s for damn sure.”

Rounding out the alumni nominees, Seena Vali, FCRH ’10, received two nominations this year. The Last Week Tonight with John Oliver writer—along with a team of writers—is nominated for Outstanding Original Music and Lyrics for the song “Eat Sh!t, Bob,” featured on episode 629, and for Outstanding Writing for a Variety Series.

Vali, who studied mathematics and music while attending Fordham, previously took home Emmys for Outstanding Writing in a Variety Series in 2018 and 2019.

Tony Award-winning actress Phylicia Rashad, a former Denzel Washington Chair in Theatre at Fordham, has been nominated for Outstanding Guest Actress in a Drama Series for her work on NBC’s This Is Us. Rashad was the first person to hold the Fordham position, established in 2011 thanks to a $2 million gift from Washington, FCLC ’77.

Perhaps best known as “America’s Mom” for her role on The Cosby Show, Rashad portrays Carol “Mamma C” Clarke, mother of Beth Pearson (Susan Kelechi Watson). Referencing a scene the two actresses share, Watson told The Los Angeles Times: “I will say, there’s this amazing moment between when Mamma C and Beth where Beth says to her, ‘I’m strong because of you.’ And in that moment, I felt more of a Susan-Phylicia thing. I’ve always looked up to her path and what she’s gone through and come through as an artist, as a woman … and continuing to go through, because she’s not stopping any time soon.”

This is the second consecutive year that Rashad has been nominated in this category. She previously received Lead Actress nods in 1985, 1986, and 2008.

The 2020 Primetime Emmy Awards, hosted by Jimmy Kimmel, will air on ABC on Sunday, Sept. 20 at 8 p.m. EST.

Legendary television and radio journalist Charles Osgood, FCRH ’54, received the 2017 News & Documentary Emmy Award for Lifetime Achievement on Oct. 5. at Jazz at Lincoln Center in New York City.

The National Academy of Television Arts & Sciences honored Osgood for his lasting contributions to broadcast journalism during his almost-50-year career, including his “gifted writing and mastery of the craft of the television news story; his unique humor and musical gifts; and his innate ability to engage his audience with warmth and credibility.”

Osgood retired last year as host of CBS Sunday Morning after 22 years with the Emmy-winning show. He continues to host The Osgood File, heard on radio stations across the nation. Osgood sometimes delivers the short-form daily radio show in verse, helping to earn him the title of “poet in residence” at CBS News.

Bob Mauro, president and CEO of the National Academy of Television Arts and Sciences, recalled working in the newsroom when Osgood was hosting the CBS Evening Weekend News: “He had the understated ease of a Southern gentleman even though he came from New York and possessed perhaps one of the greatest voices to have ever graced network television. Osgood’s character put you at ease, while his wit and humanity drew you in whether reflecting on stories large or small.”

When he retired from Sunday Morning, Osgood, 84, said people had been asking why he stayed with the show so long beyond traditional retirement age.

“It’s just that it’s been a joy doing it!” he responded. “Who wouldn’t want to be the one who gets to introduce these terrific storytellers and the producers and writers and others who put this wonderful show together?”

He once said of the features-focused show: “We accentuate the positive and don’t try to shock. .. I think there’s a growing appetite for that. We’re surrounded by shock.”

Osgood got his start at WFUV, Fordham’s public media station, which honored him in 2008 by establishing the Charles Osgood Award for Excellence in Broadcast Journalism.

Charles Osgood, FCRH ’54, is signing off as the voice of CBS Sunday Morning after 22 years. The veteran broadcaster’s last show will air Sunday, Sept. 25.

“It’s been a great run,” the 83-year-old told viewers on Aug. 28, when he announced his retirement as anchor of the award-winning newsmagazine program. He said people had been asking why he keeps at it given his age.

“It’s just that it’s been a joy doing it!” he said. “Who wouldn’t want to be the one who gets to introduce these terrific storytellers and the producers and writers and others who put this wonderful show together?”

With his calm, reassuring voice, and the show’s features-focused format, Osgood has offered viewers a serene haven from the hard news of the week. “We accentuate the positive and don’t try to shock,” he once said about the program. “I think there’s a growing appetite for that. We’re surrounded by shock.” When he was inducted into the University’s Hall of Honor, Fordham called him “the voice of Sunday morning, as constant and full of promise as a benediction.”

A leader in the ratings with an audience of around 6 million viewers, Sunday Morning has won three Emmy Awards for Outstanding Morning Program, including one just this year.

In his 45 years with CBS News, Osgood has anchored and reported for every one of the network’s broadcasts, including CBS Morning News and CBS Evening News with Dan Rather. He got his on-air start in the 1950s at WFUV, Fordham’s public radio station, which honored him in 2008 by establishing the Charles Osgood Award for Excellence in Broadcast Journalism.

Fans can take solace in the fact that the beloved host will continue to make good on his weekly signoff to “see you on the radio”: He’ll remain as anchor of his CBS Radio show, The Osgood File. And he’ll make occasional appearances on Sunday Morning.

CBS will celebrate Osgood during his final appearance as anchor with a tribute show that will feature a look back at his legendary career, as well as good wishes from surprise guests and special performers.

So how do these cities get that way? Can an art scene be “imported” via high-end art fairs, with their infusion of jet-setters who can afford to spend millions on a painting?

Andrew Hevia, GABELLI ’15, a documentary filmmaker, is spending a year in Hong Kong investigating that and other questions at the intersection of art, commerce, and identity, funded by a Fulbright that he won last year while earning his master’s in media entrepreneurship at the Gabelli School of Business.

His focus is Art Basel Hong Kong, the prestigious contemporary art fair that will bring more than 200 galleries to the Hong Kong Convention and Exhibition Centre at the end of March. Through interviews with a cross-section of local artists, he’ll produce a documentary about the city’s evolving character, viewed through the lens of the fair, which first came to Hong Kong three years ago.

Given the transition from British to Chinese governance and the recent protests about democracy in Hong Kong, “it was a really ripe ground for an interesting project,” he said.

Hevia, an Emmy-winning filmmaker from South Florida, got the idea for the project last year after happening upon a Fulbright information session at Fordham.

He had produced a similar film, Rising Tide: A Story of Miami Artists, centered around Art Basel Miami Beach, the annual fair that began in Miami Beach almost 15 years ago, and wanted to further explore how  cities acquire their own version of the arts “branding” associated with cities like New York and London.

“In New York, everyone knows artists are doing things and what it means to be an artist, and everyone has that friend who has the gallery somewhere or that underground show in Brooklyn,” he said. “In a city like New York, there’s a broader understanding of cultural output, so how do you grow and develop that?”

In Miami, it seems to have rode in on the wave of money, artists, “pop-up” galleries, and economic development that attended Art Basel Miami Beach and the unrelated satellite art fairs that arrived soon after, Hevia said.

“What I noticed in Miami is that once the art fair arrived, there was this palpable change in how we perceived the city and our identity began to shift—just a little bit—into that of an arts city. I wanted to know if Hong Kong was experiencing that same shift,” Hevia said.

The fair brought plenty of spillover business for galleries selling less-pricey works, along with a social scene that sometimes delivered art appreciation via libations and nightlife.

While people may initially associate art galleries with free drinks, “at the same time, they’re in an art gallery,” he said. “It’s sort of a backwards way of teaching people about art, but they still learn about art.”

Hevia is based at Hong Kong Baptist University’s Academy of Visual Arts, where an economic art historian on the faculty—Emma Watts, PhD—has been helping him place his work into the context of the global art market. He’s been seeking out the artists he’ll follow during the fair, hoping to represent the many faces of the city’s arts community.

And he may mix in some of his own experience of the city and its lively and welcoming expatriate population.

“In some ways, the city is built for ‘orphans,’” he said, using a colloquialism for expatriates living in the city without family. “My second week in town, I met someone who invited me to an ‘Orphan’ Christmas,’ so I had Christmas dinner with a group of people from all over the world, most of whom I’d never met.”

He’s still amazed and gratified that he discovered the Fulbright option at Fordham and got so much support in pursuing it.

“Fordham absolutely expanded my world, gave me opportunities that I was completely unaware were options, and really helped me clarify and understand the things that I am best at,” he said. “Fordham was instrumental in getting this, and this is fantastic.”

When President Richard Nixon announced his resignation 40 years ago on Aug. 8, 1974, it brought shock and amazement but also, for some, “a sense of relief,” said Communications Professor Emeritus William J. Small, a luminary of the news business who oversaw Watergate coverage for CBS News and later served on the Fordham faculty.