TIME Television

Review: I Am Cait Shows What It’s Like to Come Out With the Kardashians

I Am Cait - Season 1 caitlyn jenner
James White—E! Entertainment

The documentary series showing Jenner's transition proves to be more sensitive than its Kardashian counterparts

Caitlyn Jenner, at age 65, is getting ready to introduce herself to her mother for the first time. She’s nervous because her mother, Esther Jenner, knows her—as we all once did—as Bruce Jenner. And nervous because the former Olympic gold medalist and Keeping Up With the Kardashians dad is also reintroducing herself to the world as the most visible and thus scrutinized transgender person in America. “I hope I get it right,” she sighs.

I Am Cait (July 26 on E!), very un-Kardashians-like in its earnestness, is always conscious of its dual purpose: it’s a personal story played out for an audience of millions, on behalf of a much larger community. The premiere episode is emotional but controlled, much like Jenner’s carefully media-managed coming-out, from her Diane Sawyer primetime interview to the sultry cover of Vanity Fair magazine to her heart-tugging acceptance of the Arthur Ashe Courage Award from ESPN.

But at its most affecting it’s about something that can’t be massaged and mediated: a woman trying to live an honest life with her family, trying to close the decades-long distance between her self-image and her self presentation.

In a way, Esther is as important to the opening hour as her daughter, serving as a surrogate for viewers new to transgender issues. At 89, she turns out to be open and willing to adapt. She has trouble with the pronouns—”He’s a very good-looking woman,” she says at first—but she wrestles with the complexities by holding to the simple fact that her child remains her child. “I loved him with all my heart,” she says, “and I certainly love her with all my heart.”

It’s not easy for her, nor is it easy for Caitlyn—herself, after all, a senior citizen who’s spent a lifetime absorbing gender assumptions even as she chafed against them. But Caitlyn, who could come across awkward and guarded as Bruce on Keeping Up—living a secret, she says, made her “an isolationist”—now seems comfortable, free and funny. “Now I know why girls need a sports bra!” she exclaims while playing tennis with her sister.

The lighter moments in I Am Cait come via drop-ins from the extended Jenner-Kardashian clan. Caitlyn gets green hair extensions from daughter Kylie; later, stepdaughter Kim Kardashian stops by with celebrigod husband Kanye West, to consult on Caitlyn’s wardrobe. When Caitlyn shows off a little black Tom Ford dress, Kim says that her mother—Caitlyn’s ex-wife Kris—has the same one in chocolate brown. It’s service for Keeping Up fans, but it also serves I Am Cait’s theme of presenting transition not as a tragedy but an opportunity.

Of course, as Caitlyn acknowledges, she’s been privileged. Most people transitioning don’t have a stylist to prepare them to greet their mothers. (“I don’t think I can be too much in la femme mode,” Caitlyn says.) Most don’t have Diane Von Furstenberg sending them couture outfits, or get messages from the head of Twitter that their new accounts may hit a million followers faster than President Obama’s.

So I Am Cait builds in a sense of mission beyond its star subject. (The show comes from Keeping Up maker Bunim/Murray Productions, whose The Real World introduced MTV audiences to activist Pedro Zamora, one of the first gay men with AIDS portrayed in primetime.) The premiere announces itself with an Armistead Maupin quote—”The world changes in direct proportion to the number of people willing to be honest about their lives”—and ends with Jenner visiting the mother of Kyler Prescott, a 14-year-old transgender boy who committed suicide in May. At times the tone can be stiff and cautious, like a public-service announcement. But it’s a service nonetheless, lending celebrity’s un-turnoffable megaphone to the voiceless, especially kids.

That’s different from TLC’s I Am Jazz, which simply hands the microphone directly to one of those trans kids. Yet despite their similar titles, I Am Cait and I Am Jazz don’t feel like competitors so much as complements: a senior citizen entering a brave new world and a girl who has never known another world, the peculiar bubble of celebrity and the ordinariness of the ‘burbs. Neither reality show can be as poetic as Amazon’s scripted series Transparent, in which Jeffrey Tambor plays an elderly parent who comes out as female to her grown children. But as reality shows–however edited and self-consciously presented–they can send a message of authenticity: that people like Caitlyn and Jazz exist in the world; they are parents and children and siblings; and they, whatever anyone says, are real.

TIME Television

Quiz: Sharknado Plot Point or Real-Life Shark Encounter?

sharknado
Youtube.com

Is a TV movie franchise about shark-ridden tornadoes crazier than real life?

As Sharknado 3: Oh Hell No brings the ultimate weather-predator mashup back to Syfy Wednesday night—this time with more David Hasselhoff—thousands of would-be viewers ask themselves, “Is this the most ridiculous thing ever transmitted across a television screen?” The answer to that question is subjective (let’s not forget some other solid contenders), but the absurdity of the TV movies is nearly matched by a host of real human encounters with sharks, such as this week’s story of a surfer fending off an attack mid-competition.

Although most of the action in Sharknado and Sharknado 2: The Second One is entirely unrealistic, it may be harder than it seems to discern bloody fact from bloody fiction. Can you tell the difference between Sharknado plot points and true tales of shark encounters?

Review: Sharknado 3, Bigger, Hungrier and More Commercial

TIME Television

Review: Sharknado 3, Bigger, Hungrier and More Commercial

Sharknado 3 - Season 2015
Gene Page/Syfy Ian Ziering as Fin Shepard .

This franchise can still be gross, surprising fun. But first, you have to swim past all the product placements.

Sharknado 3: Oh Hell No! (Wednesday, July 22, on Syfy) is, of course, a disaster movie: sharks are swept up into storms, hurtle through the air eating humans on the fly, you know the drill. But even before a chainsaw is raised or a single extra goes torso-first into a great white’s gullet, it hints that Earth was struck by an earlier, unmentioned apocalypse: one that destroyed nearly everyone and everything not owned by Comcast Corporation.

Last year’s Sharknado 2, sequel to the 2013 social-media-rubbernecking sensation, already showed that the franchise was willing to use every part of the fish carcass to cross-promote Syfy’s siblings in Comcast-owned NBC Universal, giving prominent roles to Matt Lauer and Al Roker of NBC’s Today show. But that was merely tip of the dorsal fin compared with the feeding frenzy of placement in the third installment.

This time, as Fin Shepard (Ian Ziering) prepares to battle a toothy superstorm, we get saturation coverage from a full Today team, right down to wine-hoisting Kathie Lee and Hoda; cameos from Kim Richards and Reza Farahan of Bravo and Maria Menounos of E!; and repeat appearances of the Comcast Xfinity logo, which whips past us on a race car in Daytona.

Above all, we get lavish, loving, not-even-pretending-to-be-uncommercial shots of Comcast-owned Universal Orlando Resort, the setting for the greater part of the sequel’s carnage–because when man-eating sharks vacation, they Vacation Like They Mean It™. The Universal globe is more prominent than the black monolith in 2001. Characters casually-not-casually name-drop the Cabana Bay Resort. There are loving, languorous pans over the Hollywood Rip Ride Rockit and Twister… Ride It Out rides. The movie is so overtly promotional, I suspect you can show your Tivo recording pass at the Harry Potter Three Broomsticks restaurant for 20% off a butterbeer.

But at least a theme park is an appropriate tie-in for Sharknado, because this franchise is really a series of rides, each of which has to somehow be faster and more vertiginous than the last. And there Sharknado 3 delivers, especially in the beginning (which destroys a major American city before the opening titles even roll) and the climactic ending, which after all the insanity of the first two movies somehow manages to boldly go where no shark has gone before.

We begin in Washington D.C., where Fin, wearing a tux and his trademark stomach-cramps grimace, is receiving a medal for valor from President Mark Cuban and Vice President Ann Coulter. The movie doesn’t waste time; essentially there are a few raindrops and soon hammerheads are flying through the halls of the White House (which, somehow, Comcast neglected to purchase naming rights to). Meanwhile, Fin’s pregnant wife April (Tara Reid) is visiting her mother May (Bo Derek) in Orlando, giving Fin a reason to race to the resort after D.C. is saved/decimated: a massive “sharknado wall” is bearing down on the East Coast, and Washington was merely an amuse-bouche.

The middle of the movie delivers the expected Sharknado-isms–stiff line delivery, brazen pseudoscience, lines like “Biometeorology is not really an exact science yet.” Tornadoes seem to appear out of blue sky (as do the emotional subplots), characters survive a plane crash that leaves them conveniently half-naked.

But it’s all buried in a cameo-nado of celebrity guest appearances: I won’t spoil your fun or cramp my fingers by listing them all, but they include the bipartisan appearances of both Anthony Weiner and Michele Bachmann, who prove that in today’s media climate a politician can both jump the shark and later costar with it. The slog of guest casting and product placements only underscores that Sharknado has become a big, bloated seafood platter, and everyone and their agent wants a bite.

But for all that, Sharknado 3 keeps its own self-aware sense of humor and it can still deliver a gorily surprising action setpiece. The best sequence by far is the movie’s climax, which involves almost no cameos, plugs or in-jokes; manages to both wink at and outdo the original movie’s chainsaw coup de grace; and ends with what is simultaneously one of the most disgusting, laughable yet weirdly beautiful visuals I’ve seen on TV this year.

In the end, Sharknado 3–like the CGI monsters that are its true stars–is the beast that it is: single-minded, greedy and ravenous. But for all that, it can still be a lovely creature.

TIME Television

Watch Amy Schumer, Bill Hader and Judd Apatow Reenact a Real Housewives Scene

The Trainwreck star played Sonja Morgan from Real Housewives of New York

Amy Schumer has been making the late-night rounds promoting her new movie Trainwreck, but you wouldn’t be faulted for thinking she’s promoting the Real Housewives franchise instead. After poking fun at the series with a fake audition video, she and co-star Bill Hader and director Judd Apatow acted out a scene from Real Housewives of New York during an appearance on Andy Cohen’s Watch What Happens Live. Schumer played Sonja Morgan, Apatow played Countess LuAnn de Lesseps and Hader played Bethenny Frankel, and the result is as over-the-top and ridiculous as the show they’re parodying.

Watch the full clip below:

TIME Television

Trevor Noah Says He Was An ‘Idiot’ For Past Jokes

Trevor Noah
Kevin Winter—NBCUniversal/Getty Images Comedian Trevor Noah performs on the Tonight Show With Jay Leno in 2012.

'Why would you say that? You idiot! That makes no sense.'

Comedian Trevor Noah thinks he was an “idiot” when he made controversial jokes about women several years ago, the incoming Daily Show host told GQ for a profile published this week.

“You show me half my jokes from even two years ago, three years ago—I hate them,” he said. “Because you see, like, a young version of yourself. You’re like, ‘Why would you say that? You idiot! That makes no sense.’ Or, ‘That’s just stupid.’ Or, ‘Ahh, I can’t believe I said that about a woman.'”

Noah came under fire earlier this year for tweets from several years back that made light of overweight women and joked about Israel. And, while Noah no longer stands by those Tweets today, he told GQ that his new attitude towards the comments “shows that [he’s] grown.”

Read the full story at GQ

TIME White House

How George W. Bush Made Both Barack Obama and Jon Stewart Possible

Americans' frustration with Iraq war launch both men to next level

In a way, they’re both a product of an America that was fed up with President George W. Bush. Without public frustration over Bush and his execution of the U.S.-led war in Iraq, comedian Jon Stewart’s The Daily Show would not be such a cultural force. And without that same angst, Barack Obama likely would have faced a tougher climb from his role as a little-known state senator from Illinois.

Yet, here they were Tuesday night, airing long-simmering frustration with politics and the media — and showing a readiness to try new gigs — as now-President Barack Obama made a final appearance as a guest on the late-night comedy show Stewart is soon to leave.

“You’ve been a great gift to the country,” Obama told Stewart as he left the New York soundstage where The Daily Show is taped. Obama was making his third appearance as President and seventh overall to chat in front of an audience that skews younger and more liberal than almost any other program on television.

It was classic Obama (professorial, dry and critical) paired with Stewart (sarcastic, glib and skeptical) in a 30-minute television segment that, perhaps, is a fitting illustration of liberal frustration with this President and vice versa. Obama won two hard-fought elections in part by motivating Stewart’s viewers to volunteer, donate and vote. But as both the President and the host are heading for the door, it’s a moment of inflection for each man’s audience. It’s not yet clear if the show or the political coalition can be passed on to a successor.

“Are you feeling like seven years in,” Stewart began one question. Obama cut in: “I finally know what I’m doing?”

The pair, more relaxed than at any other point during their seemingly friendly relationship, traded jokes and debated American policy, often with little transition between the two. Although the exchanges packed plenty of laugh-out-loud laughs from the audience and the two men on stage, Stewart used his last chance to interview Obama for the Comedy Central program to push him, especially on foreign policy.

“Whose team are we on?” Stewart asked, noting the strange alliances that the U.S. finds itself in while working to stabilize the fractured Middle East. Obama took issue with Stewart’s analysis — shared by foreign policy think tanks across the political spectrum. The details did not allay the host, who is stepping down after 16 years anchoring the nightly program that blends political commentary, comedy and celebrity interviews.

“Who are we bombing?” Stewart asked.

At another point, Stewart noted that the U.S.-brokered deal to curb Iran’s nuclear program resulted not from military force but through negotiations. “This new thing, you called it earlier, ‘diplomacy.’ That sounds interesting,” Stewart said to laughter. “But we still get to bomb people at some point?”

Stewart’s program rose in prominence and popularity during the lead-up to the 2003 invasion of Iraq and the subsequent mismanagement of that war. Stewart’s coverage of the 2004 presidential race cemented him as a serious player in political journalism, although some in that stable still bristle when surveys find his show has a greater and more impactful reach than other more traditional newscasts.

If Stewart rode that popular frustration with foreign policy under Bush to ratings and critical acclaim, Obama channeled those same emotions to the U.S. Senate in 2006 and then to the White House in 2008. But the liberal fervor that propelled Obama to power has seemed to lose its power, especially as he has struggled to deliver on campaign promises such as closing the prisons at Guantanamo Bay, Cuba.

White House officials privately grumble that the liberal wing of the Democratic Party has not appreciated how much Obama has accomplished. Obama himself has often complained that too much emphasis is on the trivial. Last week, for instance, Obama confronted on live television one network correspondent whose question on the freshly-minted Iranian deal he found ridiculous.

“The media. You love them. They love you,” Stewart told Obama with impish sarcasm. The President did little to hide his amusement at such a statement.

“The media is a bunch of different medias. There are some who get on my nerve more than others,” Obama said. “I think it gets distracted by shiny objects and doesn’t always focus on the big tough choices and the decisions that have to be made.”

Both Obama and Stewart have expiration dates that are fast approaching. Stewart’s final episode as host is slated to air Aug. 6 — the same day Republican presidential hopefuls will face off in Cleveland for their first debate. Obama still has a way to go before he leaves the White House on Jan. 20, 2017. Yet Obama and Stewart each acknowledge they have an eye on the door.

“You’re also senioritis, yes?” Stewart asked Obama. “What do you’ve got? A year?”

Dryly, the President did not miss a beat: “I can’t believe that you’re leaving before me.”

TIME Theater

Jack Gleeson, King Joffrey on Game of Thrones, Snubs Hollywood for London Stage

"Game Of Thrones" Season 4 New York Premiere
Taylor Hill—FilmMagic/Getty Images Actor Jack Gleeson attends the 'Game Of Thrones' Season 4 premiere at Avery Fisher Hall, Lincoln Center on March 18, 2014 in New York City

The 23-year-old Cork native says he's turned down top roles to trend the boards

Jack Gleeson has kept busy in the year since his hated character on Game of Thrones was dramatically killed off.

The Irish star, who played King Joffrey in the HBO drama, has taken a break from the silver screen to found his own theater company and is preparing to debut the off-beat comedy Bears in Space at London’s Soho Theatre.

Gleeson started the Collapsing Horse Theatre Company with friends he met while at university, quashing rumors that the star would retire after his grisly Game of Thrones exit.

“Offers [for blockbuster roles] came in, but I just had a lack of desire to do a big action movie. What I enjoy most is this kind of thing, where I can have fun with my friends,” Gleeson told the London Evening Standard.

His latest production is about the thawing of two cryogenically frozen bears and their subsequent romp through space. The play has been well-received and was deemed a “must-see” by a review in Edinburgh Festivals Magazine.

Bears in Space plays at the Soho Theatre from Aug. 3 to 22.

TIME Television

If Jon Snow Is Dead, Explain This Photo

You know nothing, Kit Harington fans (spoilers ahead)

He says his character is definitely dead and he won’t be returning to the show. The show’s creators have said the same. His co-star Emilia Clarke said there’s a 50/50 chance he might come back, while his other co-star Maisie Williams thinks he won’t.

So what is Kit Harington, who plays Jon Snow in Game of Thrones, apparently doing in Belfast, Northern Ireland, where the hugely popular TV show’s next season is being filmed?

Everyone saw (and probably cried) over Snow getting stabbed multiple times in the season 5 finale, but Game of Thrones fan site Watchers on the Wall tweeted what is said to be an image of Harington at Belfast airport Monday night.

A member of the popular fan forum was apparently on the same flight as Harington, and also reported seeing Tom Wlaschiha, who plays everyone’s favorite faceless assassin Jaqen H’gar.

Multiple media outlets have picked up on the image. ‘The return of Jon Snow is turning into the worst-kept secret in TV history” said Vanity Fair, which added “Rest assured, these are taken in the Belfast airport” and invited readers to cross reference a photo for comparison.

But back to Jon Snow: Is he back?

Harington further fueled speculation of his return to the show by sporting Snow’s trademark shoulder-length hair at the Wimbledon tennis championship a few weeks ago, and has reportedly refused to take pictures with fans in Belfast.

Of course, Harington’s appearance in Belfast is not conclusive proof of anything, but in the words of George R.R. Martin — author of the A Song of Ice and Fire books on which the show is based:

“If there’s one thing we know in A Song of Ice and Fire is that death is not necessarily permanent.”

Read Next: Here Are All the Jon Snow Conspiracy Theories

TIME Media

Saudi TV Just Got a Lot More Feminist

Sponsored Women Saudi Show
Courtesy Rotana Network Sponsored Women

An edgy drama about four young women who move to America is a surprise hit over Ramadan

At first glance, the four stars of a new Saudi television drama, “Mubta’ethat” or “Sponsored Women,” look a little mis-matched. There’s Salma, a chic tomboy with short hair and red lipstick, Raghad, a glam-girl with confident strides and princess curls, Sara, a feisty hijabi with colorful clothing, and Alia, a cautious girl who wears a black niqab (covering of the hair and entire face, with only slits for the eyes). But they have one thing in common: They’ve each got a U.S. visa page in their green passport. It is their golden ticket to leave their homes in Saudi Arabia to pursue an education in Philadelphia.

The show highlights how these Saudi women fluidly adapt to a Western world while maintaining their Eastern ideals. They enroll in English classes, move into their own apartments and learn how to drive a car. They all steer their own lives for the first time.

The script plays with the obvious contrasts inherent in the plot–the girls are almost as different from each other as their culture is from the one they’ll encounter in the United States. It manages to also dig into stereotypes about America or women in veils.

During the 30 episodes, the women are forced to identify with each other and confront their own biases. Their friendship can be compared to that of a certain all-female cult HBO show from the 90s. The now classic formula of bringing together very different girls with strong personalities and courageous adventures still works. This time, with a Saudi accent.

The program debuted on June 17, the first day of Ramadan, and was broadcast in Saudi Arabia every night through the Holy month which ended in mid-July.

The show enjoyed a steady viewership over the course of the month. Each night, the episode would be uploaded on YouTube after it airs, and the comment section would quickly populate. “These girls don’t represent any Saudi girl I know and I’m a sponsored student,” reads a comment. “This is an amazing series, can’t wait for the next episode,” reads another. The positive reviews seem to outweigh the negative ones. Since it is broadcast during the Holy Month, this revolutionary show is representing millennials in a way that Saudi TV hasn’t otherwise seen.

The show has an impressive pedigree: Directed by Oscar-nominated Saudi superstar, Haifaa Al Mansour and written by her sister, Noura Al Mansour, it was produced by Rotana Khalejia, a company that is partially owned by Saudi Prince Al Waleed Bin Talal.

The characters are from key parts of Saudi and represent different lifestyles and social temperaments. Surely, young girls in Saudi can identify with qualities found in every one of these women.

Salma is from the liberal West Coast, Raghad is from the luxurious capital, Sara is from the moderate East Coast and Alia is originally from conservative Al Qassim.

Each family reacts differently to the departure of their daughter to the faraway continent. And while each girl has at least one family member closely watching over them in Philadelphia, letting go is still nerve wrecking for the families.

In one comical scene, Alia’s mother is seen stealthily stuffing stacks of (imported) ramen noodles and sacks of rice into her daughter’s luggage before departing from Saudi. “They have that food in America!” her frustrated husband protests. “No! It’s laced with drugs there!” the exasperated mother replies. They are nervous about sending their only child, a daughter, to the unknown.

“It smells like freedom! Of course, it tastes like nicotine,” Salma, says on the phone, as she cautiously drags a puff from a cigarette upon arrival to Philadelphia, Pennsylvania. Despite being a few continents away, she maintains the Saudi fear of being seen smoking in public.

Actress Noor Al Badr who plays Salma, is a doctor in real life. She got “the randomest call” from Al Mansour who asked her to join the cast. Five days later, Al Badr was on the plane to Bahrain, where they shot most of the show.

“Of course, most people thought I was crazy. I was a doctor! According to most people in our society, acting is not something to be proud of. I think I’m the first Saudi girl to smoke on TV. I wanted to break the taboo,” Al Badr said.

No Saudi feminist show would be complete without the subject of the hijab. The irony is not lost on the characters. Two of the characters don’t cover their hair and two do. In one scene, Salma says of Alia, “She can see everyone but nobody can see her.” Alia, played by actress Zara Albaloshi, repeats how her covering is the ultimate feminist statement. Perhaps most surprising of all, Alia falls in love with a non-Muslim American, Jason, who lives in her building. He becomes interested in Islam and converts. By the end of the series, Alia, the girl who only reveals her eyes to the world, gives her heart to Jason.

The show’s U.S. location is also telling: Philadelphia is central to the American Dream. It is where the Founding Fathers signed the Declaration of Independence and the Constitution of the United States.

The women are in the U.S. on an academic scholarship, called the Saudi Scholarship. They are “sponsored,” hence the title of the show. Saudi Arabia has been funding Saudi students in the U.S. since 1960, but the late King Abdullah’s Scholarship Program, which launched a decade ago, was the largest push in encouraging female citizens to study abroad. In just five decades, Saudi girls went from not knowing how to read or write to a 97 percent literacy rate, according to UNICEF.

Although the image of Saudi women has changed over the generations, the outdated impressions haven’t yet caught up with reality. The show makes a point of addressing these issues.

“With 150,000 men and women studying abroad, why is Saudi considered to be a ‘developing country?’ In reality, it is quite developed,” Sara, played by actress Maram Abdulaziz, asks her classmates in one scene.

Actress Noura Assar’s character, Raghad, has her camera at the ready to document the trials and triumphs of her Saudi female friends. An aspiring actress and director, Raghad’s quiet rebellion comes in the form of selecting that area of study. There is no such industry in Saudi Arabia today.

Assar thinks the show is starting a different conversation. “I am proud to say that the image of Saudi women has come a long way from what it used to be; strong Saudi women always existed, however, the image was very much attached to a certain stereotype. The scholarships, I’d say, participated in this change due to the ‘face to face’ method of dealing with others, where people in other countries saw for themselves what these ladies can achieve and become,” she said.

Her co-star agrees.

“Just because we can’t drive doesn’t mean we can’t fly and reach for the stars. Hope the show will continue next Ramadan!” Al Badr said.

TIME White House

Watch President Obama, Jon Stewart Share Daily Show Stage One Last Time

Obama made his seventh appearance on stage with Stewart, whose successor Trevor Noah takes over the program next month

Two men who helped define liberal frustration over politics sat down on Tuesday to talk retirement, foreign policy and healthcare, as one prepares to leave the The Daily Show and the other the White House.

For the seventh and final time, President Obama shared the Daily Show stage with host Jon Stewart, whose successor Trevor Noah will take over the Comedy Central show next month.

“I can’t believe you’re leaving before me. I’m going to issue an executive order,” Obama joked on the New York City set. “Jon Stewart cannot leave the show. It’s being challenged in the courts,” he said to laughter from the studio audience.

The commander-in-chief also took time to sell the proposed Iran nuclear deal, arguing that Republican critics seem to believe “if you had brought [former Vice President] Dick Cheney to the negotiations, everything would be fine.”

Obama also told Stewart about “a bunch of other things we want to get done” for his last year and a half as President, including tackling climate change and fuel efficiency standards, in hopes that he can persuade China and India to reduce their emissions. Obama added that he knows not all goals will be reached before he leaves office, but that the country would still be better off than it was before.

“If we lose sight of that,” Obama said, “then we’re feeding into this narrative that there’s nothing we can do.”

Read Next: A Brief History of Obama’s Daily Show Appearances

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