Kevin Spacey Revives Frank Underwood From ‘House of Cards' to Help Tim Dillon Promote Netflix Special: ‘You Are My Kind of Bastard'
Defamed actor Kevin Spacey reprised his long-retired 'House of Cards' character, Frank Underwood, in a promo video for Tim Dillon's new Netflix comedy special 'I'm Your Mother.'
Netflix declined Variety's request for comment.
More from Variety
Netflix, HBO/Max, PBS Lead as Peabody Awards Announces 2025 Nominations for Documentary, News, Public Service and Radio/Podcast
'Squid Game: The Experience' Coming to London This Spring
Saif Ali Khan's 'Jewel Thief' Sets Netflix Bow - Global Bulletin
'You podcasters think you've inherited the kingdom,' Spacey, in character as Underwood, tells Dillon in the video released Tuesday. 'Whispering in ears, swaying elections, spinning the truth like it was cotton candy, when in fact, you're nothing but a bunch of clowns juggling boner pills and hair tonic.'
'Frank Underwood? I thought you were dead,' Dillon replies.
'I'm as dead as John McCain,' Spacey quips back.
Spacey's Underwood then tries to blackmail Dillon, using his DoorDash receipts and compromising photographs as leverage. However, his plans are quickly foiled as Dillon tells him, 'These photos you gave me, I've posted them all. I'm on the internet. We don't have blackmail. We have content.'
'There is no limit to your duplicity, to your pandering, to your shameless and desperate desire to cling to relevance,' Spacey retorts. 'You're my kind of bastard.'
Dillon then informs Spacey of his Netflix special. When Spacey learns which streaming service 'I'm Your Mother' is on, he calls Dillon 'a foul, lonesome, evil little cockroach.'
In 2022, five years after Spacey was kicked off Netflix's 'House of Cards' for allegations of sexual assault against young men, a judge ordered the 'American Beauty' star to pay production company MRC roughly $31 million in damages for sexual misconduct on the set of the White House drama. In 2024, that figure was reduced to $1 million.
Best of Variety
New Movies Out Now in Theaters: What to See This Week
What's Coming to Disney+ in April 2025
The Best Celebrity Memoirs to Read This Year: From Chelsea Handler to Anthony Hopkins
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
USA Today
34 minutes ago
- USA Today
Who is Alex Cooper? What to know before watching 'Call Her Daddy' host's documentary
Who is Alex Cooper? What to know before watching 'Call Her Daddy' host's documentary Miley Cyrus, Hailey Bieber and former Vice President Kamala Harris have appeared on Alex Cooper's "Call Her Daddy" podcast. Show Caption Hide Caption How to stream free Netflix, HBO Max, Hulu, Disney+ Here's where you can find free access to streaming services and save a few extra dollars on your bill. Scott L. Hall, USA TODAY Alex Cooper is used to asking the questions, but a new documentary flips the script and makes her the subject. The "Call Her Daddy" podcast host is the focus of Hulu's new two-part documentary series "Call Her Alex." The series offers a behind-the-scenes look at Cooper's career "as she grew from a 24-year-old woman with a sex and dating podcast to the CEO of a media empire in just six years," according to a news release. Cooper is a multi-hyphenate media personality and entrepreneur who has been dubbed "Gen Z's Barbara Walters" by Rolling Stone. Since the launch of "Call Her Daddy" in 2018, the show and Cooper both have garnered cult-like followings — the podcast is one of the most popular on Spotify. Here's what to know about Cooper and her new documentary. How to watch 'Call Her Alex' The "Call Her Alex" documentary is officially available to watch on Hulu in the U.S. and Disney+ around the world as of Tuesday, June 10. The documentary includes two parts following Cooper as she embarked on her first podcast tour, the 2025 Unwell Tour. Watch 'Call Her Alex' on Hulu The documentary premiered at the Tribeca Film Festival on June 8. After the premiere, Cooper answered questions about the series, including how she decided to open up about alleged sexual harassment she experienced at the hands of her college soccer coach. "I knew that because I've listened to so many people's stories, I've sat in the chair and I've helped people open up, I knew that when I was ready, the Daddy Gang would be there to support me as well," she said. "And I also hope it inspires other people to know this doesn't define me, but it does help to talk about it." Alex Cooper sexual harassment 'Call Her Daddy' host recalls 'psychotic game' of sexual harassment Who is Alex Cooper? Cooper, 30, is a podcaster and entrepreneur from Newtown, Pennsylvania. She attended Boston University, where she played soccer and graduated with a bachelor's degree in film and television in 2017. She joined Barstool Sports shortly after graduation, where she eventually launched "Call Her Daddy." In addition to hosting "Call Her Daddy," Cooper has a podcast network called The Unwell Network and a media company with her husband, Matt Kaplan, called Trending. She also has a beverage line called Unwell Hydration, which launched in 2024. What is 'Call Her Daddy'? "Call Her Daddy" is an interview-style podcast of which Cooper is the host. It began as a sex positivity and advice podcast hosted by Cooper and her former friend, Sofia Franklyn. After Franklyn left "Call Her Daddy," Cooper shifted the tone of the show to feature high-profile guests opening up about their personal lives, like Miley Cyrus, Hailey Bieber and former Vice President Kamala Harris. The show has consistently been ranked as one of the most popular podcasts on Spotify. Barstool Sports first owned the podcast, but Cooper left the company for a $60 million exclusive deal with Spotify in 2021. Last year, after her contract with Spotify expired, she signed a distribution deal with SiriusXM, reportedly worth $125 million. We occasionally recommend interesting products and services. If you make a purchase by clicking one of the links, we may earn an affiliate fee. USA TODAY Network newsrooms operate independently, and this doesn't influence our coverage. Melina Khan is a national trending reporter for USA TODAY. She can be reached at
Yahoo
35 minutes ago
- Yahoo
Dave Chappelle Joins Mo Amer for Rare Interview on Political Comedy, Fiery ‘SNL' Monologues and Crying Over Netflix's ‘Mo': ‘I'm Not Doing This S—‘ If the ‘Show Sucked'
Dave Chappelle and Mo Amer became close during the pandemic, when Chappelle managed to secure a COVID testing machine and created a bubble at his Ohio home to bring in comedians to perform. Amer was one of them. 'We spent all the summer of 2020 together doing shows,' Chappelle says. 'The best comedians in the world flew into Ohio, and we had a blast.' Those early comedy shows were held in a cornfield, while the comedians were tested every day. But beyond that, Amer was mostly holed up in his Airbnb as he started writing Season 1 of 'Mo,' his critically acclaimed Netflix series, which wrapped this year after two seasons. More from Variety Like Father, Like Son: Arnold and Patrick Schwarzenegger on Nepo Babies, Nude Scenes and 'Becoming the Greatest Star of All Time' Penguins Unite! Colin Farrell and Danny DeVito on Lusting After Catwoman, Staying Sober and How 'It's Always Sunny' Is Like 'I Love Lucy' on Acid Colin Farrell, the Schwarzeneggers, Dave Chappelle and Parker Posey Set for Emmys 'Actors on Actors' Season 22 'It was so nerve-racking because everything was so unsettling,' Amer recalls. 'It was COVID; it was civil unrest; it was my own personal stuff. And every one of my writers was juggling things emotionally. It was really overwhelming. But you really saved my life. I'm sure that a lot of people felt that way, because we weren't working — you gave us an outlet.' When Amer was invited to participate in Actors on Actors, he suggested Chappelle as a conversation partner. And Chappelle — who hosted 'SNL' this year and hasn't given interviews since he became the subject of controversy for his jokes mocking transgender people in his 2021 Netflix special 'The Closer' — agreed, flying to Los Angeles from Ohio. 'As you know, I notoriously don't like to do press,' Chappelle says. 'But I wouldn't have missed today, because it's you.' DAVE CHAPPELLE: This is the elephant in the room. You got a deal at Netflix to produce a show, and then right as you were starting production [on Season 2], Oct. 7 happened. And this is something that you were going to have to address, artistically or not. And what I was curious about is the process of going through that. By some weird accident, you found yourself being a solo Palestinian voice in a very critical time in human history. MO AMER: I started writing [Season 2] in April 2023, and then [the Writers Guild] went on strike May 1. We came back on Oct. 1. Six days later, all hell breaks loose. And particularly my writing room, since the show is centered around a Palestinian family, this impacted it significantly; it caused us to have a tremendous amount of debate in the writing room itself. And then outside of the writing room, in my actual life, there was a deep concern for what's going on globally. I was just getting all kinds of pressure like, 'What are you going to say? What are you going to do?' CHAPPELLE: Give me an example of where the pressure comes from — family, friends, artists, producers, execs? AMER: It was more so the fans and the public. Since I'm the only guy that's Palestinian who has a show that's centered around the Palestinian family, the pressure around that was immense: 'What are you going to do to try to help to bring people together, for people to come to their senses and to get to a resolution?' I mean, my God, there was so many phone calls and people pressuring me to speak right away. This is literally Oct. 8. CHAPPELLE: Oh, wow. AMER: I noticed everyone was yelling at each other. No one was actually listening to one another. And I think it's really important to understand what's happening before you speak out. It's really necessary to know what you're talking about. And how you say it is everything. I've always seen my art form as [a] refuge, where it allows me to be myself and express myself. Outside of that feels unnatural to me at the moment. CHAPPELLE: I know exactly what you mean. AMER: I'm sure you know better than anybody else. But in regards to the show, do you address Oct. 7? Do you not? Every time I started to implement it into the series, everything would get lost. It took over the entire narrative, and I felt like it did a massive disservice. Also, this idea of everything started on Oct. 7 is not accurate. So contextually, [in terms] of what's been going on for the last 75 years, people need to know what life was like there. CHAPPELLE: From a viewer's standpoint, it looked like a miracle of timing. Your show reads like today's paper. The issues it touches — Palestine, immigration itself — the world is wrestling with all these things, and all of a sudden there's this cathartic piece of art that touches on all of that, humanizes all of that. And it's funny, man. AMER: I hope so. I mean, sometimes it didn't feel like a comedy. There were some moments where I'm like, 'Are we fucking making a comedy?' Because I'm emotionally exhausted. I'm tanked. But to your point, I've never seen a series touch upon all these things. I wanted to go into a detention center. I quite deliberately wanted my character at the end of Season 1 to get stuck in Mexico, to see what it takes to actually get back [into the United States]. And to show the absurdities of a detention center. CHAPPELLE: I remember years ago being on a tour bus with you, and you described the whole sequence about what it was like fleeing Kuwait. And when I saw the first season of your show, it was exactly what you described on the tour bus, shot for shot. Do you remember this conversation? AMER: Of course I remember this conversation. This whole series is your fault. CHAPPELLE: How's it my fault? AMER: I was opening for you in Dallas at the House of Blues. I just got offstage, and you sat next to me. You said, 'Mo.' You had a cigarette in your mouth, as usual. CHAPPELLE: Always. AMER: You were like, 'Mo, have you ever thought about doing a short film in front of your stand-up special? And if you do it right, it could win an Emmy.' And you hit me in the shoulder. I was like, 'Oh, shit.' [After that], I was obsessed with this short film; I couldn't stop thinking about it. It just all came into me. I was like, 'Oh my God.' I started seeing my mom take the money — it was this real thing that happened when we were fleeing Kuwait — how she was getting the cash and hiding it in strategic locations in our suitcase. How she was sewing it up. I'd never seen this version of my mother. Our life was very normal. And to see her be so tactful and grab a razor and cut behind the zipper and put equal amounts of money in the lining of the purse and then sewing it back up. I just started seeing little me wearing the Pelé soccer jersey as she was assembling it, putting everything together to get ready to leave, which was obviously changing our lives forever. CHAPPELLE: But, boy, this second season. This punchline of 'Mo' was everything. It was great. And that's why I'm here. I hate doing media. Like, man, you guys have no fucking idea how amazing it is that I'm here right now. AMER: When we were taking pictures next to each other, I looked over a couple times. I literally was thinking, 'Bro, I know you hate this so much.' But also, 'He must really love the show.' CHAPPELLE: If this show sucked, and he asked me to do this, I'm not doing this shit. But, boy, by the time I got to the end of the season, it made me cry joyful tears. AMER: Bro, you have the longest sets on 'SNL.' I mean, to me, they're the pinnacle of stand-up — watching a master at work at live stand-up. You've said that it's a joke recital or whatnot, but you freestyle. CHAPPELLE: The first one especially was winging it. But I've been doing it long enough that you're never really winging it. Even if I don't have jokes, I got experience enough. But on live television, it's dangerous. You got to navigate standards and practices and all the rest of it. But to Lorne Michaels' credit, he never knows what I'm going to say. As a tradition, I never do my actual monologue in rehearsal. AMER: That's great. CHAPPELLE: For me, rehearsal is just 'How's the sound?' It's so much pressure on live television. But the joy of doing that show for me is the monologue. What a gift for a stand-up to be able to do what he does on live television on such a revered platform like 'SNL' is. It's always exhilarating. It's a little terrifying, but just a little. You never do as good as you think you're going to do, but it's never that bad. The hardest one was maybe the one when Biden got elected, because we didn't know he was going to be president until Saturday morning. So I had a set for if Trump won, and I had a set for if Biden won. AMER: As far as the monologues themselves from 2016, with so much going on in the world and the fact that Trump had won the election, from 2016 to now, how do you feel about that monologue? CHAPPELLE: I haven't watched it in a while, but I remember it fondly. AMER: You spoke about giving him a chance. CHAPPELLE: Oh, I remember that part. But you know what? I look at it like a photograph. That's what it felt like in that moment. Now, if it ages well or not, I don't get mad if I look at a picture because it's not today. That's what it was at that time. You might look at an old set and cringe, but you could just cringe because of how you were at that time. AMER: You're such a cultural lightning rod; everything you say encapsulates everything that's going on in the zeitgeist. CHAPPELLE: Complete accident. AMER: Complete accident? Come on! CHAPPELLE: No, I'm just kidding. How did you know that your show would sound like today's paper? AMER: Yeah, I had no idea. CHAPPELLE: When you filmed those scenes in the detention camp, you didn't know El Salvador was going to happen. AMER: Yeah, no. CHAPPELLE: You just were doing what felt like was urgent to you, and it turns out that the world stage caught up to your writers' room. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
Yahoo
35 minutes ago
- Yahoo
Seth Rogen and Jason Segel Relive 27 Years of Friendship: Smoking Before ‘The Matrix,' Peeing Next to Scorsese and Harrison Ford Watching Segel Naked
Jason Segel and Seth Rogen, who both emerged from the Judd Apatow comic universe, are now two of the funniest multi-hyphenates in the industry. Segel, with Bill Lawrence and Brett Goldstein, co-created 'Shrinking,' a dramedy about an unconventional therapist, played by Segel, going through the stages of grief. Rogen, with his longtime writing partner, Evan Goldberg, co-created 'The Studio,' and co-directs every episode. He stars as a newly appointed studio executive trying to keep his head above water. Seth Rogen: The first time we met — 27 years ago — I was 16 or 17 when we shot the pilot of 'Freaks and Geeks.' How old were you? More from Variety Dave Chappelle Joins Mo Amer for Rare Interview on Political Comedy, Fiery 'SNL' Monologues and Crying Over Netflix's 'Mo': 'I'm Not Doing This S--' If the 'Show Sucked' Like Father, Like Son: Arnold and Patrick Schwarzenegger on Nepo Babies, Nude Scenes and 'Becoming the Greatest Star of All Time' How 'The Studio,' 'Yellowjackets,' 'Monsters' and 'White Lotus' Make Bad Behavior Appealing Jason Segel: I was 18 or 19. It's crazy to think about that. In preparation for this, I was thinking about the first time we bonded. I have a very clear idea of the moment. Rogen: What was it? Segel: While we were shooting the pilot, 'The Matrix' came out. We didn't know each other that well. We didn't know anybody else that well. We were all just meeting each other. And all we knew is that you and I both liked to smoke weed. Rogen: [The film] came out the day the pilot wrapped, so in my head, the whole pilot was just a march to 'The Matrix' being released. Segel: We rolled giant joints and drove to the movie theater and saw 'The Matrix' together. I remember coming out of that movie legitimately feeling like something had changed. It was a very inspiring thing. Rogen: It was like our 'Star Wars.' Segel: You and I started writing harder after that. I think about that period as something you can never get back. We had the naivete of youth. We didn't really know how to do it. Rogen: I remember having no fucking clue what I was doing at all. Meeting you — you had thoughts about the craft of acting. You were the first serious actor I ever talked to. All I did was memorize the lines and try to say them in a way that sounds remotely realistic and natural. Then I realized everyone else on the show was creating a whole character. Segel: But don't you think acting is all just tricks so that when they say 'Action,' you feel comfortable? Rogen: The longer I act, the less I understand it, honestly. Sometimes I look back at the choices I made, and they're more surprising at times than things I would do now. Segel: People always ask, 'What would older you say to younger you?' I think the opposite is more important for me at this age. Don't forget the guys who felt like, 'Why can't I make this movie and end it with a Dracula puppet musical? Why can't we do this whole movie about trying to get booze?' You know what I mean? There was a naivete that we had: 'Who's going to stop us?' Rogen: I've let pragmatism invade my thinking in many ways. You get too realistic about things, and you're like, 'What's going to work?' instead of 'What sounds fun in the moment?' Segel: The most strategic decisions I've made have been the worst ones. Do you have a true north — a view of life you're trying to express? Rogen: No. Sometimes. I'd say that some things I've made are trying to eventually have an idea that they're trying to get across — something I believe. But I mostly start thinking of an idea as I think of the energy of it. That's what becomes exciting to me. I never start with one single thing. Where do your ideas come from now? Segel: I don't write very often because I don't love it. I find it to be kind of fraught. I think of an idea, something I'm dealing with in my life, and then I try really hard not to write it. But if it keeps nagging at me, I'm like, 'This is something I'll write.' Rogen: Me and Evan talk about a Darwinistic approach to our ideas often — the ideas that stick around are the good ideas. Segel: It's not that hard to think of ideas. But I get a little indecisive about committing to one. You gave me a piece of advice for a script I'm working on now that really stuck with me. I didn't feel like I was smart enough to write this thing, and you said, 'We're the age now where you write stuff like that.' That's the beauty of this thing, starting to realize, 'OK, now let's try to up the degree of difficulty.' Rogen: Aging is weird in many ways. But acknowledging that your taste has changed and your sensibilities have changed … That was a scary thing for me and Evan to even acknowledge: Oh, we don't want to make stuff about dumb teenagers anymore. Segel: Or being afraid of girls. Rogen: It's been a decade since Evan and I wrote and directed and produced a thing I was also in. It took us a transition period from our 30s into our 40s where we were working on other stuff the whole time, but it wasn't our stuff. Segel: Do you and Evan have the same taste, or is it like a Venn diagram? Rogen: It's close enough that we've never really had a major conflict over what we want to work on. There's never been a thing that one of us really wants to make and the other doesn't want to make at all. Segel: You really notice, in 'The Studio,' this energy that goes through it. It felt to me like a mix: 'Birdman' meets 'Curb.' Rogen: That's exactly what we were going for. Segel: It's all of the awkwardness and reality of 'Curb,' but set to a rhythm. Rogen: I wanted it to be fast — that was a word I would use a lot. I thought a lot about: What do I want to do all day? What do I like to do? What I don't love to do is insert shots and establishing shots. I don't love doing scenes that feel like they're serving some storyline that will pay off in a few episodes. I love high-stakes, intense scenes where everyone wants to grab each other and shake each other. As we were writing the show, the first conversations we were having were 'How do we infuse every scene so I'm only doing scenes that are really funny?' Segel: It's like you only did the scenes that people like. Rogen: We didn't cut. Nothing we shot was not in the show. Do you guys improvise a lot? Segel: When it makes sense. Our show is also this mix of comedy and drama. You know I love talking about acting. Rogen: Not as much as some. Segel: All those improv skills that we learned for comedy and got pretty damn good at turned out to really apply to dramatic scenes also. Rogen: Even more so, I think. Because you aren't trying to make jokes. Segel: And you're not trying to prove you're clever. With 'Shrinking,' the writers are incredible, and they give us a really good treasure map that's pretty fucking detailed. But then you're dropped into the treasure map and it's three-dimensional and you're like, 'Oh, but there's an interesting little thing over here …' Rogen: Does the same person direct the whole show? Segel: No. Rogen: How's that? That's the one thing I'd never really done. 'Pam & Tommy' was the first time since 'Freaks and Geeks' or 'Undeclared' that I'd acted in a television show, and I honestly struggled with having different directors. I was very thrown off by it, having all these people come in, handing off the show from one person to the next. Segel: I get it. There's a lot of moving targets, and you're block shooting for locations, so … Rogen: … different directors will come in throughout the day. Segel: That happens occasionally. But we have a really cohesive unit up top with Bill Lawrence. But it's an interesting thing, you know, because you do all the jobs, but I don't think anyone knows, until you get into editing, what the show is. Rogen: Not on our show. Segel: This is a show about grief, and we wanted to honor that. People are really going through this shit in the world. You also want it to be funny. So it was a lot of turning the dials of how bad you can make him as a therapist. Rogen: I was explaining it to Lauren, my wife, as we were watching it. She was like, 'Is he doing cocaine and sleeping with prostitutes?' I didn't think this show went there. Segel: You've known me a long time, so you'd probably agree if you were directing me: I was like, 'Guys, you can have him do as much bad stuff as you want.' Rogen: 'It'll be OK.' Segel: People are going to think, 'Oh, I hope he's OK.' Rogen: Sympathy. Segel: Spend the currency. Rogen: How did you get Harrison Ford? Segel: We got Harrison Ford because Harrison Ford is the kind of person you make an offer to so that for three days you can say, 'We've made an offer to Harrison Ford,' and then you'll pick the real guy. Rogen: Sounds cool in a restaurant. Segel: He read it, and he didn't know anything about me. Brett Goldstein met with him, and they had a really nice meeting, and they sent him 'The End of the Tour' and 'Forgetting Sarah Marshall.' Then, apparently, Bill Lawrence got a text that said, 'I'm in. And tell the kid, great dick.' Rogen: Even if he was out, that would be great. I would take that. Segel: How about your cameos? Is that the people you've amassed throughout your career? Rogen: No, not at all. I'd say half of them were people I didn't know at all. We wanted people you haven't seen us with before. Martin Scorsese, we just sent it to his manager. I'd met Zoë Kravitz once or twice. I met a lot of these people in passing. I'm sure you have at a party. Segel: I did meet Martin Scorsese once. I met him at the Golden Globes, and we peed next to each other at the urinals. But I had the kids' one and he had the tall one. So everything about it was just way off. That's a great memory. Rogen: He's a little guy. Segel: Were you intimidated to direct people like that? Rogen: It was the worst thing in the whole world. We were shooting the show in such a specific way that I was so nervous it would be creatively rejected. Segel: I'm so interested to hear that you get nervous. Rogen: The character is me in many, many ways. And the crux of the character is that he doesn't want to let down his idols. And that's one of the biggest things that I'm navigating: Whenever I get anyone to come do a thing we're doing, I'm so aware of how upset I'll be if they think it's bad. Segel: How do you act while you have to be carrying all this other stuff too? Rogen: To me, it's more fun to be directing the scene and in the scene and having written the scene than it is to just be acting the scene. The fact that it's way harder, I like it. Segel: It's a tightrope. Rogen: 'Steve Jobs' was the first time I had done anything where there were these long, elaborate shots and these long walk-and-talks — it has to be exactly right. It was the first time I made a thing where everyone's really leaning in and everyone's engaged. And when you got it, everyone's clapping. That was an energy I wanted to try to create on a day-to-day basis. Segel: You're describing my ethos of acting. Repeatability is an important skill when you start doing all the other angles. But the magic part, the part where I'm like, 'Oh, fuck, we did it,' is when you catch something. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
