"Blinged Out the Toilet with Play-Doh": A Video Chat with Sherri Shepherd

Emmy Award-winner Sherri Shepherd is known for her roles on 30 Rock, The View, and her forthcoming stint on Dancing with the Stars. Shepherd dishes on new 30 Rock plot details and which Oscar-winner she was mistaken for (frequently) on the red carpet this year.

Sherri Shepherd is a woman of oh so many interests and talents, with a resume even bigger than her bubbly personality. She began her career as a stand up comic and part-time legal secretary, which soon transformed into a full-time position as a sitcom actress. Never one to be pigeonholed, she now willingly shares her opinions on the popular talk show The View, that is when she’s not reprising her role as the brilliantly hilarious Angie Jordan on NBC’s 30 Rock or or working on books like her 2009 effort Permission Slips: Every Woman’s Guide to Giving Herself a Break. A fixture on the red carpet, she recently held court at the Oscars, and also held a supporting role in the Katherine Heigl thriller One for the Money. Rather than be confined to only the world of acting, she will soon make a play for conquering the physical world, when she confronts the competition on Dancing with the Stars.

Ms. Shepherd’s warm and winning personality shines through in all situations, especially in the interview below. She is both a mother to a six-year-old, and a newlywed, and its clear that these are the most important roles in her life, translating into everything she does. This makes her a particularly excellent choice to act as the host of the Clorox Lounge’s new online series The Last Comic Sitting, a competition that pits five mother and five father stand up comedians against each other as they share stories of parenthood, especially their experiences in the bathroom. Each week, viewers will vote on their favorite performance, and the lowest scoring competitor will be ousted based on these results. The flushings will continue until only one comic is left to claim the $10,000 cash prize. Check out the interview with Sherri below, as she shares everything from who on 30 Rock would win Dancing with the Stars, to her search for serenity in her commode, to who she was mistaken for at the Oscars.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

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It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

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​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

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"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

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There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

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