Feb. 2 (UPI) — President Donald Trump has threatened to sue Trevor Noah over a joke the comedian made while hosting Sunday night’s Grammy Awards.
“It looks like I’ll be sending my lawyers to sue this poor, pathetic, talentless dope of an M.C., and suing him for plenty$,” Trump said Sunday night in a statement on his Truth Social media platform.
Trump frequently pursues lawsuits against critics and media organizations over comments he says damaged his reputation, drawing criticism from opponents who accuse him of trying to silence dissent.
Noah, a South African comedian who has hosted the Grammy Awards since 2021, attracted the ire of the American president with a joke about Trump’s relationship with the convicted sex offender and disgraced financier Jeffrey Epstein.
After awarding singer Billie Eilish the song of the year award, Noah remarked: “That is a Grammy every artist wants — almost as much as Trump wants Greenland, which makes sense, I mean, because Epstein’s island is gone he needs a new one to hang out with Bill Clinton.”
There is no verified evidence that either president visited Epstein’s Little Saint James Island, which has been linked to sex crimes committed by Epstein against minors.
“Noah said, INCORRECTLY about me, that Donald Trump and Bill Clinton spent time on Epstein Island. WRONG!!!” Trump said in his statement.
“I can’t speak for Bill, but I have never been to Epstein Island, nor anywhere close, and until tonight’s false and defamatory statement, have never been accused of being there, not even by the Fake News Media.”
Trump and Epstein, who died in jail by apparent suicide in 2019 while awaiting trial for sex-trafficking charges, were friends dating back to the 1980s. The American president said in July that they had a falling out in the early 2000s after Epstein “stole” spa staff from his Mar-a-Lago resort including Epstein accuser Virginia Giuffre, who died by suicide in April.
On Friday, the Justice Department released millions of pages from its investigation into Epstein. Included in the documents were unverified claims and allegations submitted to the FBI that mention Trump in connection with alleged sex crimes involving minors.
Trump has denied wrongdoing. Justice Department Deputy Attorney General Todd Blanche told CNN’sState of the Unionon Sunday that allegations included in the documents against Trump and others were “very quickly determined to not be credible.”
In Trevor Noah’s final opening monologue at the Grammys, the joke that got the loudest laugh in the room was directed at Nicki Minaj’s MAGA alliance.
After six consecutive years of hosting the Grammys, the comedian is stepping down from the emcee role. Last year, Noah’s monologue was focused on the resilience of Los Angeles and paid tribute to the victims of the Palisades and Eaton fires. This year, he poked fun at attending celebrities and commented on the country’s political climate.
When he addressed the fact that Nicki Minaj was not in attendance, the audience applauded in response. He joked that “she is still at the White House with Donald Trump discussing very important issues: ‘Actually, Nicki, I have the biggest ass, I have it. Everybody’s saying it, Nicki, I know they say it’s you, but it’s me. WAP, WAP, WAP. Look at it, baby,’” Noah said in his best Trump impression.
Last week, Minaj appeared at a U.S. Treasury event, where she stood on stage with President Trump and said, “I am probably the president’s No. 1 fan, and that’s not going to change.”
While detailing what the night ahead entails, Noah compared this year’s Grammys to the 1999 ceremony.
“The last time Lauryn Hill performed at the Grammys was in 1999,” said Noah. “Back in 1999 the president had a sex scandal, people thought computers were about to destroy the world and Diddy was arrested. Boy, how times have changed.”
Noah also poked fun at Jelly Roll, asking if he was able to unlock fellow face-tatted singer Teddy Swims’ phone. He also mentioned that the arena stuffed with A-listers felt somewhat like billionaire Jeff Bezos’ wedding, “but with way more Black people.”
In addition to it being Noah’s final hosting gig, this year’s ceremony is also the last to air on CBS, its home network since 1973. After tonight, it kicks off a 10-year run with Disney. The Grammys will air on ABC, Hulu and Disney+ beginning in 2027.
Don’t stop me if you’ve heard this one before, since I’m admittedly something of a broken record on the subject, but I very much prefer Marvel’s television series, which tend to be fleet, original and unpredictable, to its movies, which tend not to be. “Loki,”“Ms. Marvel,”“Moon Knight,”“Echo,”“WandaVision” and its spinoff “Agatha All Along” — all (among others) are worth watching, even the ones that are dumped after a season.
Developing longer stories with less money, the TV shows makers need to be inventive, creative with their resources, so they invest in characters and ideas rather than special effects and action. They focus on secondary or ensemble figures who would never be given a theatrical feature of their own to carry, are particular about culture and family and place, and are often less contingent on the Marvel Cinematic Universe, with its phases and stages, its crossovers and cross-promotions and long-range marketing plans. At once higher concept and more grounded than the movies, they’re interesting on their own, to the point where, when they finally hitch on to the Marvel multi-mega-serial train, I find them disappointing.
“Wonder Man,” whose eight episodes premiere all at once Tuesday on Disney+, is perhaps the most grounded of these series. Created by Destin Daniel Cretton (“Shang-Chi and the Legend of the Ten Rings”) and Andrew Guest (who has written for “Community” and “Brooklyn Nine-Nine”), the series is a (generally) sweet, disarming tale of actors in Hollywood, tricked up with picture-business details that you don’t need to be au fait with the MCU to appreciate. There are things it might be helpful to know, but you can work out everything that matters through context. (Locals will enjoy playing Spot the Locations.)
Yahya Abdul-Mateen II plays Simon Williams, who as a child became a fan of a B-movie superhero called Wonder Man — not a “real” superhero, in this reality, merely a fiction. Now in his 30s, he’s a struggling actor in Hollywood, good enough to land a small part in an “American Horror Story” episode, but not clever enough to keep from slowing down the production with questions and suggestions when all he needs to do is deliver a couple of lines before a monster bites his head off. He loses the part and a girlfriend directly afterward.
Taking in a revival house matinee of “Midnight Cowboy,” he meets Trevor Slattery (Ben Kingsley), who is back from having played the Mandarin — that is, he acted the part of a terrorist called the Mandarin, believing it was just a job — in “Iron Man 3” and providing appealing comedy relief in “Shang-Chi and the Legend of the Ten Rings.” The character here is more fleshed out, something of a mess (but 13 years sober, he likes to point out), serious but not a joke. Before it all went wrong, Trevor played King Lear (in Croydon), appeared in “Coronation Street” and in a movie with Glenda Jackson, was off-off-off Broadway in “The Skin Our Teeth” and briefly had the lead in a hospital show with Joe Pantoliano, who’s very funny playing himself.
Trevor Slattery (Ben Kingsley), left, and Simon Williams (Yahya Adbul-Mateen II) team up in “Wonder Man.”
(Suzanne Tenner / Marvel Television)
Slattery tells Simon that European art director Von Kovak (Zlatko Burić) is rebooting Wonder Man, a role Simon feels born to play. He makes an end run around his unconvinced agent, Janelle (X Mayo), and wheedles an audition — where he again meets Trevor, auditioning for Barnaby, Wonder Man’s pal, or sidekick or something. There are wheels behind wheels in this setup, some of which could use a little grease, but for most of the series they do their squeaking off to the side. It’s a love story, above all — “Midnight Cowboy,” not an accidental choice, is more of a touchstone than any Marvel movie.
Simon does have powers — things shake, break or explode around him when he’s upset, and his strength can become super in a tight spot — which puts him in the sights of the Department of Damage Control, embodied by Arian Moayed as P. Cleary, who would like to contain him. But he struggles to keep them secret, especially in light of something called the Doorman Clause — its history established in a sidebar episode, a cautionary Hollywood fable with Josh Gad as himself — which prohibits anyone with super powers from working in film or television, all Simon lives for.
There is little in the way of action, and you won’t miss it. The fate of the world is never in question, but a callback for a second audition means everything. The only costumed characters are actors playing costumed characters; the only villains, apart from the bureaucracy that seeks to bring him in, are Simon’s own self-doubt and temper. As things progress, Trevor will become a mentor to Simon. As is common in stories of love and friendship, a betrayal will be revealed, but if you have seen even a few such stories, you know how that’s going to go, and will be glad it does.
Whether discussing acting techniques or the traffic they’re stuck in on Hollywood Boulevard (Trevor: “Probably the Hollywood Bowl.” Simon: “It’s too late for the Bowl.” Trevor: “It’s usually the Bowl. I remember seeing Cher there once — breathtaking. Chaka Khan, now there’s a woman”), Abdul-Mateen and Kingsley work well together; their energies are complementary, laid back and loose versus worked up and tight and, of course, each will have something to teach one another about who they are and who they could be. I was genuinely anxious for them, as friends, more so than just wondering how such and such a superhero (or team) might defeat such and such a supervillain (or team).
“Our ideas about heroes and gods, they only get in the way,” says Von Kovak, putting a room of hopeful actors through their paces, and essentially speaking for the series he’s in. “Too difficult to comprehend them. Let’s find the human underneath.”
