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'The Greatest Night in Pop' reveals the making of 'We Are the World,' and it is riveting

From Stevie Wonder reminding Bob Dylan how to be Bob Dylan, to Diana Ross wanting Daryl Hall's autograph, to Waylon Jennings walking out in protest, it's a must-watch.

Dozens of top artists of the 80s joined forces to raise money for famine-stricken Africa in 1985.

Every Gen Xer and baby boomer remembers how big of a deal "We Are the World" was when it came out in 1985. The USA for Africa project brought together dozens of the era's most famous musicians to record the song, which raised millions of dollars in aid for famine-stricken Ethiopia and became an anthem for the global fight against hunger. (A painfully cheesy anthem by modern standards, but this was the 80s, after all. Cheese was the order of the day.)

The music video was filmed during the studio recording of the song, showing superstars like Michael Jackson, Bruce Springsteen, Cindy Lauper, Tina Turner, Stevie Wonder, Kenny Rogers, Kenny Loggins and more. And up until now, that felt like the story—these musicians all got together to record the song, they did, it was epic, the end.

But there is soooo much more to the story than that, as showcased in the Netflix documentary, "The Greatest Night in Pop." And it is absolutely, 100% worth a watch.


Lionel Richie serves as the main storyteller in the documentary, which is fitting since he was one of the main orchestrators of the project. He and Michael Jackson wrote the song—which is an entire story in and of itself. They thought they had plenty of time, and then they learned they needed to have it written and ready to record by the following week. There was a fight at Michael Jackson's house between his dog and his talking bird during the songwriting process. At another one point, MJ's enormous pet snake got lost and scared the bejeezus out of Lionel Richie by knocking over some albums and hissing behind him.

Richie talks glowingly about Jackson's incredible talents, but Richie deserves a shout out as well for his energy and endurance. "We Are the World" was recorded overnight and into the morning after the American Music Awards ended. That night, Richie served as the host of the AMAs, performed two songs there, won multiple awards during the ceremony, and then hightailed it to A&M Studios to record "We Are the World," which he co-wrote. And on top of all of that, he served as a handler of sorts for the multiple personalities who were there in that room, keeping everyone on task and focused without being heavy-handed about it. It's genuinely impressive to witness.

But seeing how these big musicians acted when they were all in a room together is the most delightful part of the documentary. Quincy Jones had put up a handwritten sign telling everyone to "Leave your ego at the door." Easier said than done in a group like that, but at the same time, these huge stars were starstruck themselves. We see it over and over again, these household names giddy over meeting their idols, feeling shy around one another, being nervous about their solos and other evidences of oh-so-obvious humanness.

Huey Lewis describes how his legs shook when it came time to sing his solo part—which was originally supposed to go to Prince, who never showed. Diana Ross went up to Daryl Hall and asked for his autograph, telling him she was his biggest fan, prompting the whole group to start signing one another's music. They all spontaneously sang "Day-O" to Harry Belafonte to celebrate him, as it was his advocacy that had initially prompted the project. Seeing how much these artists admired one another is really sweet.

But there were some snags along the way, too, which are equally interesting to watch play out. At one point, Stevie Wonder tried to insert some lyrics in Swahili into the song, which prompted country singer Waylon Jennings to bail on the whole project, reportedly saying, "No good old boy sings in Swahili.” (The idea was nixed anyway, as Swahili isn't spoken in Ethiopia and, as Bob Geldof pointed out, they weren't singing to the people they were helping, but rather to the people who had the means to give.)

Bob Dylan appears to be completely out of it through much of the night—a fact that has led to plenty of stoner jokes over the years. But by the end, we see that Dylan was just completely out of his element in a room full of genuine singers, and it took Stevie Wonder literally mimicking him to get Dylan to feeling comfortable performing his part in the song.

The whole documentary is worth a watch to witness the creative chaos of the process, the drama that inevitably comes up when big personalities get together and the bonds that were built through this heartfelt project. Leveraging fame and utilizing art to save lives was a beautiful idea, and seeing it all come together is really something.

"The Greatest Night in Pop" can be seen on Netflix. Highly recommend.

"Ted Lasso," "We Are Lady Parts," and "Avatar: The Last Airbender"

When the real world has lost its luster, we must sometimes throw ourselves into the world of fiction. Comfort shows can be bona fide therapy, especially when so much time these days is being spent indoors.

The following is a carefully curated list of feel-good TV options to accompany the well-known not-so-good moments of life. May they instill your faith in humanity, warm your heart or at the very least, give you a moment of “ah.”


When you feel like a total outcast, hate your body and want to crawl in a hole where no one can find you: "Sex Education."

sex education netflix

"Sex Education" gets all A's.

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The great thing about this show is that everyone—both the teenagers and the adults—are sort of bumbling along the path to self-discovery. And though, as the title suggests, this show does have a lot NSFW moments, sex isn’t really the central theme. Rather, it's about identity, expression and authenticity. This show also tackles LGBTQIA+ topics with integrity and heart, particularly in Season 3.

When you take a gander at your bank account, and now feel just as empty on the inside: "Schitt’s Creek."

schitt's creek

The Rose family provides an abundance of giggles.

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First, there’s the initial bit of therapeutic schadenfreude, seeing the shallow, materialistic Rose family have their fall from grace, and their millions. Then you’re hit with purely delightful, totally unforgettable comedy moments. I mean, there’s a reason why there are “fold in the cheese” T-shirts. That bit was comedic gold. Finally, there’s the added hope injected into your soul after seeing the Roses not only overcome financial hardship, but become better people along the way. Certainly, if they can do it, we can do it.

Plus, “A Little Bit Alexis” is a straight up bop.

When it’s the third time you’ve been “mansplained” to this week, and are so done with the patriarchy: "We Are Lady Parts."

we are lady parts

This show truly rocks.

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"We Are Lady Parts," a new sitcom from Peacock, tells the story of an all-girl Muslim punk rock band trying to make their big break. Actress Anjana Vasan, who plays timid “Capricorn” Amina, the band’s new guitarist (facing just a dash of vomit-inducing stage fright), is particularly delightful. With every subtle look and awkward giggle, the girl just knows how to get a laugh. But truly, it’s an ensemble show. It’s hard to not root for cunning band manager Momtaz, whose face covering makes her “feel like Beyonce,” or bassist-slash-mother Bisma and her misunderstood comic about “a group of women who all become homicidal maniacs when they’re on their period,” or powerhouse drummer Ayesha who appears to be goddess Khali incarnate, or unbreakable frontwoman Saira, who screams out the lyrics to bangers like “Basheer With The Good Beard.”

Yeah, they’re a LOT. And that’s what makes them great. And the best part is: By watching Lady Parts dismantle stereotypes and overcome their own insecurities, you somehow gain more confidence in the process.

When you haven’t seen your family in so long and just want a hug: "British Bake-Off."

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"The Great British Bake-Off" always delivers the sweetness.

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Remember when you used to tell your mom, “I don’t wanna go to school, I just wanna stay home and bake cookies with you?” That feeling you were chasing is exactly what "The Great British Bake-Off" delivers.


It’s pure soul medicine. Plain and simple. There’s the artistry of it all, as the bakers make the most creative, most exquisite and exotic desserts ever imagined. Even if you don’t have a sweet tooth, it’s hard not to drool over some of the showstoppers. Plus the judges and contestants are as warm as baked brie. I’m convinced that even if America produced it’s own version and replicated it to a “T,” it would still not be able to capture that special something the British one has to offer. It’s a high stakes competition for the Star Baker, sure, but without any normal tension-inducing gimmicks that normally come from similar programs. And because of that, audiences are left with a soothing balm that brings a sense of home, no matter where you’re watching.


Pro tip: Don’t watch on an empty stomach.

When you’ve read far too many dreary headlines exposing dark secrets: "Avatar: The Last Airbender."

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A magical show that gets right to the heart.

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Looking for a story where good guys win and even bad guys redeem themselves? Where concepts of mindfulness are broken down so clearly you can’t wait to meditate? Look no further.

Though the animated Nickelodeon fantasy originally aired in 2005, it quickly became one of Netflix's most watched shows at the beginning of the pandemic. And there's a reason for that. Even adults can appreciate the way this cartoon elegantly conveys moral lessons sans the preachiness. And as any Airbender fan will tell you, this “kid’s show” depicts a cast of nuanced, dynamic, flawed characters. And this is coming from someone who didn’t watch the series originally. So no leaning on nostalgia here.

Curl up in a blanket and watch kids fight the world’s injustices with the power of magical martial arts and friendship. Your heart will thank you for it.

When Facebook shows you that your ex is engaged, and you’re wondering if you’ll ever find love: "Four Weddings and a Funeral" (Hulu version).

four weddings and a funeral

The rom-com for people who hate rom-coms.

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This mini-series never got the visibility (or good reviews) it deserved. Co-created by Mindy Kaling, “Four Weddings” adapts the classic rom-com movie of the same name, but with a “modern, diverse twist” (originally said by Entertainment Weekly, and it’s so accurate I can’t beat it). Let me say this first: I despise romantic comedies. But this one hits differently. As Kash and Maya go through their messy “will they won’t they” roller coaster, you fall in love with them in the process. It reminds you that love is complex, perfectly imperfect, and the basis for all healthy relationships, not just the romantic ones.

When you’re ready to just give up and let the planet destroy itself: "Earth to Ned."

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Ned is the best late-night host in the galaxy.

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Earth to Ned on Disney+ blends late-night show antics with puppetry in a way that’s out of this world. Alien space invader Ned is set on a mission to annihilate Earth, but instead he falls in love with its inhabitants, and beams up celebrity guests to answer his burning questions about earthly customs, and pop culture of course. It’s just so quirky, so wholesome and so silly in a way that only a Jim Henson project can accomplish.

When it’s been so long since you’ve laughed at anything, you’re not sure you remember how to: "Whose Line is it Anyway?"

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1,000 points for bringing smiles.

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Ah, "Whose Line," the long-running improv comedy show where the points don’t matter, but laughter certainly does. This really is my go-to when I’m down in the dumps. Something about seeing Colin, Ryan and Wayne unapologetically make utter fools of themselves while playing pretend, makes the world seem less bleak. Even bits I’ve seen a thousand times bring a smile to my face.

And believe it or not, new episodes of "Whose Line" are still airing, now hosted by Aisha Tyler. And yes, it definitely still holds up. Try this one the next time you need an escape into pure joy.

When you simply can’t shake the feeling of being a loser: "Ted Lasso"

comfort shows

"Ted Lasso" is the champion of feel-good.

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Call it a fish-out-water comedy, or call it an underdog sports drama. Either way, "Ted Lasso" tends to our need for creature comforts. The show manages to stay uplifting without being blindly positive, even as it explores darker topics such as toxic masculinity and father issues in Season 2. As Ted Lasso teaches his team to “believe,” it’s hard to not find yourself being inspired to look for the silver lining.

Though my list could be much more exhaustive (honorable mentions to Netflix's "She-Ra and the Princesses of Power" and "Star Trek: The Next Generation"), I hope these can provide a little inspo next time you’re in need of a more nourishing binge watch.

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Wil Wheaton | Wil Wheaton speaking at the 2018 Phoenix Comic… | Flickr

Comedy can be uplifting. And it can also be downright destructive. The rise of cancel culture has made us take a hard look at what we normalize for the sake of a good joke. And with Dave Chappelle’s controversial comedy special, that includes jokes which can be perceived as cruel or homophobic jabs by the LGBTQ community and allies.

At the same time, comedy is supposed to be disruptive, is it not? It’s meant to be audacious, bawdy, outrageous. And let’s not forget it’s often said sarcastically, meaning we don’t really believe what what's being said … right?

Wil Wheaton has previously given a brilliant take on how to separate the art from the artist. This time though, he’s confronting the art itself and what makes it problematic.

For anyone who genuinely doesn't understand why I feel as strongly as I do about people like Chappelle making transphobic comments that are passed off as jokes, I want to share a story that I hope will help you understand, and contextualize my reaction to his behavior.

Wheaton started off his story by sharing how he used to play ice hockey when he was 16, and one night enjoyed a warm welcome as a guest goalie. After a fun practice, Wheaton joined his teammates in the locker room.

Before I tell you what happened next, I want to talk specifically about comedy and how much I loved it when I was growing up… One of the definitive comedy specials for me and my friends was Eddie Murphy's Delirious, from 1983. It had bits that still kill me… Really funny stuff.

There is also extensive homophobic material that is just…appalling and inexcusable. Long stretches are devoted to mocking gay people, using the slur that starts with F over and over and over. Young Wil, who watched this with his suburban white upper middle class friends, in his privileged bubble, thought it was the funniest, edgiest, dirtiest thing he'd ever heard… And all of it was dehumanizing to gay men… I didn't know any better. I accepted the framing, I developed a view of gay men as predatory, somehow less than straight men, absolutely worthy of mockery and contempt. Always good for a joke…

…A comedian who I thought was one of the funniest people on the planet totally normalized making a mockery of gay people, and because I was a privileged white kid, raised by privileged white parents, there was nobody around me to challenge that perception. For much of my teen years, I was embarrassingly homophobic, and it all started with that comedy special.

Here Wheaton pivots back to the locker room:

So I'm talking with these guys…We're doing that sports thing where you talk about the great plays, and feel like you're part of something special.

And then, without even realizing what I was doing, that awful word came out of my mouth. ‘Blah blah blah F****t,’ I said.

The room fell silent and that's when I realized every single guy in this room was gay. They were from a team called The Blades (amazing) and I had just ... really fucked up.

"'Do you have any gay friends?" One of them asked me, gently.

"Yes," I said, defensively. Then, I lied, "they say that all the time." I was so embarrassed and horrified. I realized I had basically said the N word, in context, and I didn't know what to do. I wanted to disappear. I wanted to apologize, I wanted to beg forgiveness. But I was a stupid sixteen year-old with pride and ignorance and fear all over myself, so I lied to try and get out of it.

"They must not love themselves very much," he said, with quiet disappointment.

Nobody said another word to me. I felt terrible. I shoved my gear into my bag and left as quickly as I could.

That happened over 30 years ago, and I think about it all the time. I'm mortified and embarrassed and so regretful that I said such a hurtful thing. I said it out of ignorance, but I still said it, and I said it because I believed these men, who were so cool and kind and just like all the other men I played with (I was always the youngest player on the ice) were somehow less than ... I guess everyone. Because that had been normalized for me by culture and comedy.

A *huge* part of that normalization was through entertainment that dehumanized gay men in the service of "jokes". And as someone who thought jokes were great, I accepted it. I mean, nobody was making fun of *ME* that way…so…

This stuff that Chappelle did? …For a transgender person, those "jokes" normalize hateful, ignorant, bigoted behavior towards them. Those "jokes" contribute to a world where transgender people are constantly under threat of violence, because transgender people have been safely, acceptably, dehumanized. And it's all okay, because they were dehumanized by a Black man……Literally every queer person I know (and I know a LOT) is hurt by Chappelle's actions. When literally every queer person I know says "this is hurtful to me", I'm going to listen to them and support them, and not tell them why they are wrong…

Wil Wheaton brings up some powerful points. While this is a complex issue, the insidious nature of dehumanizing jokes is pretty blatant. At some point we have to ask ourselves: Is it really worth harming someone else for the sake of a joke? When put that bluntly, the answer, I hope, is a resounding no.

Audience's thirst for streamed content has fueled increasingly long work days for below-the-line workers; IATSE members have had enough.

Once upon a time, the entire Hollywood industry shut down. On October 5, 1945, thousands of workers walked out of high-powered studios in the name of fairer working conditions. The epic strike took on the name of "Hollywood's Bloody Friday." For six months, all productions were severely delayed. That meant: nothing new on television. No movies to go to. No escape from the humdrum of real life. And in those times, no one even had the saving grace of YouTube or TikTok.

Cut to: October, 2021, and we are faced with the same situation. Which is bad news for those looking to binge new shows during their WFH job.

Entertainment has become a saving grace, if not an absolute necessity, during the pandemic. Many of us survived the shutdowns thanks to entertainment. Whether swooning over "Bridgerton" or gaping in awe at "Tiger King," television has provided us a much-needed escape from reality. However, thanks to disputes over unlivable wages and inhumane working conditions, your favorite show might be stuck on a cliffhanger for a while.

Why is this happening?


Starlets and action heroes in front of the camera often gain the glory of the public, yet behind the scenes, there are crew members—those who run sound, lighting, hair, makeup and camera departments—who normally contribute longer hours and more manpower to keep the wheels of the production running.

These crew members make up a union known as IATSE (the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists, and Allied Crafts). And this past Monday, IATSE once again voted "yes" on a strike approval after broken negotiations with the AMPTP (Alliance of Motion Picture and Television Producers). Yes, it's the age-old story of the working man versus the money man. IATSE members are fighting for increased income, more rest periods and increased residual payments for streaming projects. If their demands are not met, IATSE has approved a unionwide walkout. Meaning history could very well repeat itself.

Below are a few sample horror stories taken from @iatsestories on Instagram, which depict a regular—yes, regular—day on set:



At best, film and TV crew members are unsung heroes; at worst, they are literally putting their lives in danger due to incredibly taxing working environments. A typical day for crew members is 12 hours. That can go up to 15 or 16 hours a day, without weekends, and sometimes without actual lunch breaks. That's the equivalent schedule demands of many frontline workers. Only instead of saving lives, members of IATSE risk injury and even work related death. It hardly seems humane to force workers to sacrifice their physical, emotional and mental health in the name of entertainment. Let's face it: A lot of the time we're only half paying attention to the screen as we're folding laundry.

For all the risk, the wages are often less than minimum wage. And though projects from major streaming platforms such as Netflix, AppleTV and Disney+ earn income that rivals—or even exceeds—those of traditionally released blockbusters, the payment terms remain the same as they did 10 years ago.These multimillion dollar companies have the same residual payment responsibilities as a fledgling start-up.

What happens next?

Negotiations are reforming between IATSE and AMPTP, thanks to IATSE's historic strike authorization. Now that things are back on the bargaining table, perhaps a better, more fair contract can be ironed out between the two unions. Things do seem optimistic. Scarlett Johansson's lawsuit victory against Disney over "Black Widow" streaming profits shows an artist leveraging power away from a gigantic media conglomerate. Hopefully those without celebrity status, yet who contribute equally (if not more so) to the movie and television shows we love, will get the same fair treatment.

Scarlett Johansson wins lawsuit against Disney.www.hollywoodreporter.com

If not, it might be reruns of "The Great British Bake Off" for all of us.