Goodbye, and Goodnight: Jon Stewart Signs Off From The Daily Show

After 16 years, 19 Emmys and more zingers than we can count, The Daily Show host Jon Stewart steps away from his desk on August 6. We asked friends and former colleagues to pay tribute to the man of the hour.

John Oliver
Senior British Correspondent
2006–2013
In terms of political comedy on television, Jon Stewart is not just the best there’s ever been; he’s the best there ever will be. To say I wouldn’t be doing what I’m doing now without him is a huge understatement. I wouldn’t even know how. He taught me everything. If he ever needs me to hide a body for him, I’ll do it. Hopefully, he never needs that, but he is from New Jersey, so you never know.
It’s hard to pick a favorite segment [from my time on the show], because they were all fun. I must have dressed up like a Victorian street urchin at least 10 times. I had electoral results projected onto me while wearing a green, skintight bodysuit. I broke my nose fighting the Confederate army in a field piece. I had beans and toast rain down on me in the studio. And I shaved a heart into my chest. I honestly can’t even remember the context of that last one, but I did it. Trying to make Jon laugh every day was the best—and probably most important—part of the job.
Then there was the matter of filling in for him in the summer of 2013. He just called me one weekend and asked me to do it. I instinctively said yes, and it wasn’t until I got off the phone that the gravity of what I’d just agreed to sank in. He believed in me far more than I believed in myself. I think that might actually still be true. —As told to Oriana Schwindt

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Kristen Schaal
Senior Women’s Issues Correspondent
2008–present
I always felt like Jon Stewart was my boss—a very good boss. Especially with the topics I tackle as the senior women’s issues correspondent, there’s room for so much discussion. He gives notes, and he’s in it from the pitch to the very last rewrite. But he’s doing it in such a way that you feel like it’s a collaboration. If he has a note on something, he guides you to it in a way that you don’t feel like you’re being given a note, but rather that you’re discovering it from his point of view.
Still, I have always been shy around him. He would crack jokes and I would try to crack some back, but there’s such a reverence. I am on the show only a handful of times a year, so I didn’t have an everyday way of getting used to him. But in the last couple of years, I’ve stopped being shy around him, which is a good lesson for me: Get over it…because [eventually] they’ll leave.
I’ve also learned to look at things much deeper because of Jon. It’s so easy to get a topic and just have a knee-jerk reaction to it. But he’ll take it and really inspect it. He makes sure that he is careful with things, and that’s something that has gotten lost in journalism and in the way things are reported today. I think that’s why people want to tune in to The Daily Show—that, and he knows what’s funny. He knows how to take a bill about getting rid of funding for rape victims and make people laugh while they’re taking it in. Comedy is a powerful tool for putting everybody on the same page, and he’s a master at doing that with topics that are important to our whole country.
One piece we were both on board for was a segment about abortion funding. There was this bill that was getting passed that said federal funding wouldn’t pay for abortions, even if the woman was a victim of incest or rape. So I was discussing how much money the Republicans were saving by not protecting these victims and how it came down to two-tenths of a penny per taxpayer. That was the one where I thought, “Oh, this is what I’ve been working so hard for.” I think they even took the language out of the bill the next day, and I was like, “Whoa, this feels really powerful!”
But then they put it back in a couple of weeks later. —As told to Gregory E. Miller

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Samantha Bee
Most Senior Correspondent
2003–May 2015
Since Jon first announced he was leaving The Daily Show, I have lived in a near-permanent state of misty. So when approached to write a tribute to him, I wasn’t sure my tear ducts could take another hit. Jon, if you’re reading this, go no further, because it’s about to get weepy, and I know you don’t really seek this kind of unabashed praise.
When Jon gave me my shot on the show, it was transformative. He took me from the brink of giving up show business entirely to a place from which a solid career could be built. Working for him was like working in the best comedy training ground a person could ask for. And though I mostly remember those first months as a general feeling of “Oh my God, don’t f— this up” and “Seriously, don’t f— this up,” Jon always had my back. I don’t mind saying that working my ass off with the single goal of making Jon laugh forged my comedy spine out of molten steel.
Oh yes, and then he hired my husband, Jason Jones, as a contributor, too.
As a boss, Jon explicitly urged—no, required—me to explore my passions as a performer, and when I fell apart from it or just needed to sit in his office and cry about it, he was patient and caring without fail. And did I mention how unbelievably supportive he was when I started having kids? I know—working for Jon was quite literally an embarrassment of riches.
So hearing the news that he was leaving The Daily Show was a bit of a gut punch, for sure. And while, yes, I had a job there and all that, my actual first instinct was to react as a fan, because I am a Jon Stewart superfan. It just feels so weird. I completely get [why he’s leaving], but it still feels weird.
And now here I sit dehydrating from all the tears, gently wizening like a raisin, happy for Jon, missing him already and forever grateful.

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Rob Corddry
Correspondent
2002–2006
Jon Stewart taught me how to write a joke. On my first day I was paired with a writer to work on a bit for that night’s show. I wrote what I thought was a pretty funny script—I don’t remember what it was about, only that I was particularly proud of a line that included something about Rico Petrocelli baseball cards.
Jon read it and, though he gave only a few notes, the resulting script was completely different—and very, very funny. In less than five minutes, he had squeezed a lump of newbie crap into a diamond of perfect clarity. I remember Jon saying, “Cut this Rico Petrocelli stuff.” I realize now that I hadn’t actually written any jokes, only overly specific details and vaguely funny references. I had been writing sketch comedy for years, but it was during that note session that I learned what a joke actually was.
Jon never sat us down and said, “This is how you write a joke.” But the five years I spent watching him take a general idea, zero in on what makes it funny and then plot a course to the biggest possible laugh changed my life in a profound way. I’ve worked with a lot of funny people since, but no one has approached the same process as effortlessly or with such uncommon instinct.
Obviously, I would be nowhere near where I am now if it weren’t for Jon. To say that my Daily Show pedigree earned me the capital to make Childrens Hospital is an understatement. Jon taught me how to make Childrens Hospital. And I still try to channel him when I sit down to write. But I no longer try to figure out what Jon would say about a joke; instead, I try to imagine how he would go about writing it in the first place. I’m honored to have worked with Jon, and I’m forever grateful to him for allowing me in the club at all. But it’s bittersweet, because I know I’ll never work with anyone as smart or as goddamn cool ever again. Thanks, Jon.

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Rachael Harris
Correspondent
2002–2003
My time on The Daily Show was shorter than most other correspondents because I went and got married. I, not being as strong and as smart as I am now, left the show prematurely in 2003. If I have one showbiz regret, it’s leaving that show early.
While I was on the show, Jon was recently married himself. He’s super loyal, and what I liked the most about him was that he was very aware that people had families and lives. So he was really supportive of my decision to leave. He brought me into his office and said, “Look, we would love for you to stay, but I can’t tell you not to go get married.… Just think about it.” That was awful because he was speaking the truth, and I knew he was right. But I had to go.
In my career, being on The Daily Show has given me credibility. Just knowing that Jon Stewart hired you sets the tone of “Oh, OK, she gets it.” Everyone who works on the show has a point of view about comedy, has a very similar sense of humor and is interested in current events and what’s happening in our world. From the top down at The Daily Show, there’s an attitude of “This is fun and exciting, and aren’t we really lucky that we get to joke around about this stuff for a living?” We got to have an impact and help people learn a new perspective, and we got to bring it to them in a very funny way.
It’s different when you see Lester Holt bringing you the news and Jon bringing you the news. He’s not some broadcast news anchor—it’s Jon just being himself, and I think that’s why I like to watch and why we all like to watch. You trust him. When he said “Jump!” or “I want you to do it this way,” you never questioned it. And that’s not at all out of fear. It’s out of complete and utter respect. —As told to Gregory E. Miller

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Larry Wilmore
Senior Black Correspondent
2006–2014
I’ve been lucky in my career. I’ve worked with a lot of funny people—the funniest person I know is Eddie Murphy—but by far, the smartest, most insightful mensch of a guy is Jon. He’s like a combination of Walter Cronkite, Jesus and Johnny Carson. I say Johnny Carson because he has that same generosity for other performers, and that’s part of his legacy. He doesn’t have an ego when it comes to letting other people shine, whether it’s Steve Carell or John Oliver or Stephen Colbert or any of the others who have come up through the show over the years.
I came in during a transitional period. Colbert had left the year before; Rob Corddry left the day I got there. John Oliver and Aasif Mandvi and Rob Riggle had just started.
Me, I pretty much auditioned to be a correspondent on the air. The rehearsal went horribly. It’s just the crew there, and you have those great people like Colbert and Ed Helms in your head, so your first try is kind of stiff. I felt like the crew didn’t even want to look at me. You know how you don’t want to name farm animals because you might have to eat them later? That’s what it felt like.
Right before the taping, Jon brought me in and we went through the segment line by line, and we got it sounding a little more natural. But I was still nervous—you don’t want to let Jon Stewart down, for Christ’s sake! And just before we performed the segment for the audience, he put his hand on my arm and said, “Larry, just look in the camera and f—ing give it to America.”
It was one of the nicest things anyone could have done right before you’re about to get one of your biggest shots: to put a hand on your arm and say, “Just do it.” I’ll never forget that. —As told to Oriana Schwindt

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Lewis Black
Contributor
1996–present
Jon Stewart and I were both working in the comedy clubs in New York City when we met. He was funny, and my first thought was, “Why does a good-looking guy need to do comedy?”
I have always found the business part of this business to be a complete f—ing mystery, but Jon has a real sense of it. A lot of The Daily Show’s success had to do with being in the right place at the right time and Jon being the right person. He turned the news world on its head.
He’s the one a lot of people turned to and trusted to help them focus on what was important in the news. And he did it at a time in which the flow of information was drowning what the facts were. Somehow his humor and satire became a way to look at what those facts might be. There was so much news programming, and there was more and more and more while he was on the air. There’s 24 hours of CNN, 24 hours of BBC, 24 hours of MSNBC, 24 hours of Fox News. Plus the nightly news and all the morning news stuff. It’s, like, 150 hours of news in a 24-hour day, and he created a filter and a form of insulation from it.
And he didn’t let this s–t go to his head. He’s a great lesson, I think, in terms of when you do walk away. You see it in athletes, when they go out on top. He learned as much as he could; he went as far as he could with this. He has other things to do. When you’re that funny and smart, there are other roads. He had the intelligence to go and seek them and realize he couldn’t follow them while he was doing what he was doing on The Daily Show. And so, like I’ve said about Stephen Colbert: You ain’t seen nothing yet. —As told to Oriana Schwindt

The Daily Show airs weeknights, 11/10c, Comedy Central.

Shark and Awe: Summer’s Guiltiest Pleasure Returns With Sharknado 3: Oh Hell No!

Stomp aside, Indominus Rex. Jurassic World’s designer dino has nothing on the true king of hybrid menaces: the improbable and seemingly unstoppable mash-up of disaster movies and apex predators known as Sharknado. And with Sharknado 3: Oh Hell No!, the third blast of shark-infested high winds and higher camp, they’ve gone and gotten a much bigger boat.

“It’s so strange: We’re a little TV movie, and everyone is treating it like a huge summer blockbuster,” marvels Anthony C. Ferrante, the trilogy’s director, still stunned at the franchise’s ferocious success. He’s not alone. Almost everyone involved in 2013’s original Sharknado was awash in disbelief when the masses devoured the cheapo flick, which saw Los Angeles being assaulted by a cheesy, shark-tossing tornado. “I never thought the movie would even see the light of day,” confesses Ian Ziering, whose heroic ex-surfer and pun-fully named Fin Shepard has since become the series’ Bruce Willis of murderous makos. “I assumed it would come and go.”

“When I read the script, I was laughing so hard,” echoes Tara Reid, who stars as Fin’s wife, April Wexler. “It was like, ‘You gotta be kidding me.’ It was the silliest movie I have ever read.” And that was before the LOL-worthy title even happened. “Originally, Ian and I signed on when it was called Dark Skies,” Reid reveals. “Then in the first week of filming they changed the name to Sharknado, and we were both like, ‘Nooo! You can’t call it that!’ But they said to trust them, and it turns out Syfy, Anthony and the producers knew what they were doing.”

Initially, the ratings for the first airing of Sharknado “were good but not great,” recalls Syfy’s Chris Regina, the senior vice president of program strategy who oversees the network’s original movies. But a groundswell of online attention proved there was definitely blood in the water. The key was simply baiting more viewers. “So we added additional airings because of the buzz we were getting, and it exploded.”

Riding the tide of those encore presentations and the WTF fascination of social media (even Mia Farrow live-tweeted), Ferrante’s “little TV movie” suddenly became the biggest splash of that summer, leading to theatrical showings, late-night talk-show jokes, and the kind of media hype usually reserved for feature-film epics. “The first movie had very little marketing. They treated it like the regular Syfy TV movie, and there is nothing wrong with that,” Ferrante says. “Then it began gaining traction, and it blew up on the re-airings, it blew up Twitter. The thing that’s wonderful about the first Sharknado is that people found us; we didn’t force people to watch it. That is what makes it special.”

It’s also what made 2014’s sequel a no-brainer. “We had all the ingredients that we knew had made the movie a success,” offers Regina, adding that recapturing TV’s weirdest lightning in a bottle meant mixing more juice into the recipe. Sharknado 2: The Second One boasted a bigger budget, better effects and a move to the Big Apple, where the newly reunited Fin and April battled both another storm and monster expectations. Wisely, Syfy went hard with the marketing, complete with a branded presence at Comic-Con in San Diego, which helped turn last summer’s brilliantly absurd follow-up into the network’s most-watched original movie ever, with 3.9 million viewers. And again, jaws hit the ground as fast as the film’s exploding shark parts. “I thought we’d maybe get close to the numbers we did on the first one,” admits Ferrante. “I didn’t expect this to blow up a second time. Now, to be sitting here two and a half years after we shot the first movie with a TV Guide Magazine cover and a third movie where we have spanned multiple states? It’s pretty incredible.”

For Oh Hell No!, the whole gang—Ferrante, Ziering, Reid and the trilogy’s screenwriter, Thunder Levin—reconvened on the East Coast for a shoot that lasted less than three weeks, and this time, the forecast called for more madness than ever. “When we were developing this one, people were saying that they weren’t sure how we could top the second one. It was so jam-packed with stuff,” Ferrante says. “And I would say I don’t know how we can top this one. There are literally ideas for four Sharknado movies crammed into one film…and it works!”

Opening in Washington, D.C., with Fin preparing to receive the Medal of Freedom from the president (played by Mark Cuban, of Shark Tank, natch) for saving L.A. and New York, No. 3 benefited from being part of a national treasure in its own right. With the Sharknado brand so amusingly beloved, production was able to secure clearance to shoot all around the capital, lending a level of authenticity to the most unrealistic film since, well, No. 2. “We had access to some incredible places,” raves Ziering of filming at the Washington Monument and outside 1600 Pennsylvania Ave. “When you’re part of a megahit, apparently people are happy to open their doors and work with you.”

Before you can say “Beltway,” however, Fin’s celebration with the commander in chief turns cataclysmic after a massive new sharknado develops over the city, triggering a sequence Ferrante calls “White House Down with sharks—the metaphor there is that they’re terrorists,” he explains, giddily recounting how this bit allowed for a dose of amped-up, military-style action. “This story gave us a chance to have a gun-toting president, and Ian has a machine gun. It gave us the opportunity to do something we haven’t done before in these movies.”

Another first for the franchise is filming in multiple locales. With the entire Eastern seaboard under attack by sharknado cells (damn you, global warming!), Oh Hell No! goes on a road trip as Fin races to Florida, where the now-pregnant April; their daughter, Claudia (Ryan Newman); and April’s mom, May (Bo Derek), are celebrating Claudia’s 18th birthday. As with Washington, Ferrante and company were granted carte blanche to shoot extensively at Universal Studios, Orlando. Yes, there are sharks in the park.

“Sharknadoes tend to follow us everywhere, if you haven’t noticed,” laughs Reid, whose character now sports what Ziering jokingly calls a “go-go gadget” prosthetic, having lost her hand to a midair shark attack in The Second One. “So it makes perfect sense that another one would start where my husband is, then come to me!”

Just as in the previous outings, this wild ride is filled with blood and guts and goofy deaths. “We do a little more evisceration in this one,” previews Ferrante. “There is a great, amazing kill that is prolonged and agonizing for the character. But it’s really cool. We do some horrible things to the victims.”

There’s also a flood of celebrity cameos, including retired L.A. Laker Rick Fox, Playboy models Holly Madison and Kendra Wilkinson, magicians Penn and Teller, NYSNC-er Chris Kirkpatrick, WWE star Chris Jericho and talk-show host Jerry Springer. Along the way, Malcolm in the Middle’s Frankie Muniz turns up as a storm chaser working with the original film’s Nova Clarke (Cassie Scerbo, reprising her role), and, in keeping with the franchise’s family-first theme, slow-motion beach icon David Hasselhoff surfaces as Fin’s father, Gil, a former astronaut whose NASA connections could help save the world. How, exactly, we can’t even begin to explain.

“[The whole thing] is tongue-in-cheek!” Ziering says, as if anyone needs reminding that the fate of mankind is in the hands of a Baywatcher and a teen idol turned Chippendale. “It is preposterous. There are sharks in tornadoes! It’s so far-fetched, you can only suspend disbelief to enjoy it.”

And that is exactly why we love this series so much and why everyone from Syfy to Ferrante to the stars are banking on endless summers of sharknadoes. “So much of the film is a social experience with the fans, and that really helps educate us,” Regina says of gauging the potential for a fourth movie. “I have an idea of where we can go in the next movie, but they could be demanding something else after this that could change my mind.”

One mind that won’t be swayed is Ziering’s. He’s hooked, wherever the next one may be headed. “I would love to be a part of this project for many years to come,” the actor says. “It’s entertainment, and I’m having fun at the same time. So why get off a boat that isn’t sinking?”

Hmmm…Sharknado at sea? Oh, hell yes!

Sharknado 3: Oh Hell No! airs Wednesday, July 22, 9/8c, Syfy

Ray Donovan Returns: Can the Fixer Be Fixed?

Even when Liev Schreiber isn’t playing the title role in Ray Donovan—a cold, brooding, slay-for-pay Hollywood “fixer”—he looks like he’s about to beat the crap out of you. The man can’t help it. He’s just made that way, with his wide, glowering, don’t-mess-with-me puss and a 6-foot-3 alpha-dog body that seems impenetrable and unstoppable. Right now, on the set of the Showtime series at Sony Studios in Los Angeles, that fearsome Schreiberocity is on full display as the actor hunts for director Dan Attias to discuss a problem with the script. Oh, Schreiber has no gripe with the writing itself; just that there’s too much of it.

The scene giving him agita has Ray returning home to his family, having distanced himself for quite some time from wife Abby (Paula Malcomson) and kids Conor (Devon Bagby) and Bridget (Kerris Dorsey). It’s quickly apparent that Ray hasn’t been missed. In fact, he’s been replaced. His older brother, Terry (Eddie Marsan), has moved in and become surrogate husband and father, and for once, there’s a bit of much-needed bliss in the Donovan household. Schreiber wants Ray to react silently, rather than verbally, to this startling domestic shift, and he asks Attias if he can cut some of his lines. After a few minutes of debate, Attias says he wants the scene played as written. For a moment, Schreiber seems ready to push the issue, but he suddenly retreats from the disagreement with a good-natured shrug, mumbling, “Well, it was worth a shot” to no one in particular. And then he begins to sing…softly, sweetly.

“Don’t cry out loud. Just keep it inside, learn how to hide your feelings.”

Nearby crew members glance at one another and are not quite sure how to react, so they don’t. This clearly is no everyday happening. Schreiber continues his song, with growing poignancy and bravado.

“Fly high and proud! And if you should fall, remember you almost had it aaaalllll!”

He nearly, but not quite, hits the final note and is greeted with more puzzled silence. “What’s that song from?” he asks. No one knows.

“Les Miz?” someone finally offers meekly.

“No, I mean who sang it?” Schreiber asks. “Was it Debby Boone? I’ve had that song playing in my head since Season 1 and can’t make it stop.”

With good reason. “Don’t Cry Out Loud”—which, for the record, was a major hit back in the ’70s for Melissa Manchester—could be Ray’s personal theme song. After all, the emotionally constipated ruffian and chronic philanderer never met a feeling he couldn’t stuff deep down into the darkest recesses of his twisted, Irish Catholic psyche. As a child, Ray was sexually abused—along with his younger brother, Bunchy (Dash Mihok)—by the family priest back home in South Boston, a trauma that still haunts them and has robbed Ray of any ability to feel intimacy. And the hits just keep coming: At the end of last season, Ray’s lover Kate (Vinessa Shaw) was killed by his trusted right-hand man, Avi (Steven Bauer), in a whack job ordered by Ray’s boss and father figure, attorney Ezra Goldman (Elliott Gould). Worse yet, Ray found out Abby was having an affair with a young, handsome LAPD detective. Now there’s hell to pay.

When Season 3 begins, several months have passed. “Ray has cut himself off from his family and the people he works with,” Schreiber says. “He can’t forgive Abby. He can’t forgive Avi and Ezra. And he still can’t forgive his dad, Mickey [Jon Voight], for abandoning the family all those years ago, which opened the door to the pedophile priest. In Ray’s mind, his entire world has transgressed against him and he’s holding everyone accountable.”

Ray once earned top dollar protecting Ezra’s celebrity clients—covering up their scandals and burying their skeletons (sometimes literally)—but he’s now working freelance, picking up scraps whenever he can. “Ray no longer wants to be cleaning up after people who don’t deserve it,” Schreiber says. “He’s done being treated like a second-class citizen, like a thug. He’s looking to legitimize himself and climb the social ladder.”

That opportunity comes when Ray is offered a full-time gig handling crises for the filthy-rich Finney family and their many entertainment holdings. The clan’s oily patriarch, Andrew (Ian McShane), is getting ready to step down as CEO and will appoint as successor either his feckless son, Casey (Guy Burnet), who runs the Finneys’ movie studio, or his ruthless daughter, Paige (Katie Holmes), who heads their sports agency.

“There’s no doubt Paige is more equipped and powerful,” says executive producer and showrunner David Hollander. “But Andrew has an emotional connection to his son that he doesn’t have with his daughter. He’s impressed by Paige but loves Casey.” The elder Finney is also aware that Paige will go to any lengths—however disgusting and illegal—to get what she wants, and he fears she’s a threat to him. This has Ray caught between protecting Andrew’s secrets and helping Paige achieve her lofty, and potentially lucrative, goal of acquiring an NFL team and bringing it to L.A.

“Nothing intimidates Paige,” says Holmes, who drew inspiration for her badass character—a juicy change of pace from her many sweetheart roles—by studying Faye Dunaway’s Oscar-winning turn as a cutthroat TV executive in Network. “Paige is hugely ambitious and can handle herself in any situation, but she does have cracks. Over time, you’ll see why she’s so alone and why she’s so willing to do inappropriate things. Some people are going to think she’s crazy, and,” Holmes adds with a laugh, “I might be one of them.”

This being Ray Donovan, lustful sparks will fly between fixer and fixee, of course. “At first, Paige is resentful and untrusting of Ray,” Holmes says. “He’s a stranger, and the Finneys always have people trying to take advantage of them. But she starts to see how she can use Ray to her advantage and that they are very similar. They are both lost souls. He’s exciting to her.”

Life for the other Donovans is no less wild this season. Shy, sexually dysfunctional Bunchy will get his mojo going when he falls for a wrestler-dominatrix (Alyssa Diaz), and Terry starts out behind bars after being nabbed in a botched robbery. “Terry’s Parkinson’s disease is worsening now that he’s without proper medical care, and he’s angered a bunch of Aryan Nations inmates who want him dead,” Marsan says. “But he’d rather remain in prison than be sprung by Ray and be dependent on him. If Terry survives, he’ll be in a wheelchair within two years. He wants it all to end.”

Mickey, meanwhile, is living off his racetrack winnings in a hooker-infested apartment complex in the San Fernando Valley. He takes a shine to one of the working gals (Fairuza Balk) and often babysits her young daughter (Shree Crooks), a not-so-talented showbiz wannabe up for the role of Shirley Temple in a movie biopic. Before long, Mickey is feeling downright fatherly and decides to become a pimp, with a little cocaine business on the side.

“No one’s going to take care of Mickey, and being a criminal just comes natural to him,” says Voight. “He’s envious of Ray because the guy seems to have so much power. Mickey needs to show his son that he can make it, that he can be an important person.” Of course, Voight concedes, “Mickey is always stepping in s–t. He has big dreams but never much success, which is apparent to everyone but himself.”

Then there’s Abby, who will beg Ray for absolution—and get nowhere. “Ray is such a hypocrite, screwing women left and right,” says Malcomson. “But he doesn’t fall in love with them. Ray may be emotionally and physically distant, but he’s not going to leave Abby, certainly not while the kids are still in the house.”

However, Abby will leave Ray this season, at least temporarily, when she tries to reconnect with her former self. “She goes home to her Southie roots in Boston and checks back in with her family, which is quite a circus,” Malcomson says. “It’s a chance to see who Abby really is, as opposed to the lonely, frustrated woman who is out of her element in Hollywood.” We meet her brother and sister and an old boyfriend, as well as her father, who is “vile and unnecessarily cruel, a real d–k,” Malcomson says. “You understand why she escaped that situation and married Ray, whose protective manliness and mythic bravery is very appealing to her. But, let’s face it, Ray’s also been a f—ing curse.”

She gets no argument from her leading man, who readily admits to the hypocrisy charge. “Ray is very primitive that way,” Schreiber says. “He lives by an arcane code of masculinity, where men are expected to cheat but women can’t, which is ridiculous and laughable. And, like a lot of victims of abuse, he’s extremely self-indulgent, very in his own world.”

But the guy’s not all bad. “As a father, Ray always provides. In fact, I’d even call him a good father when he’s not juggling that with being a homicidal maniac,” says Schreiber, who is expecting his longtime partner, actress Naomi Watts, and their two young sons, Sasha and Sam, to drop by the set and hang with him at lunch. “I empathize greatly with Ray’s commitment to his children and find it beautiful,” he says. “As much as I love being on this series, it’s very hard for me to be working right now when the kids are out of school and I could be with them. I just wish someone would hire me for a family movie so that my legacy is more than a series of dark, angry men. My kids have never seen my work.”

If it’s any consolation, the Oscar-winning Voight thinks Schreiber is a star for the ages. “Liev reminds me of the great old-time movie idols—Humphrey Bogart, James Cagney, Burt Lancaster, Kirk Douglas—the kind of tough, grounded guys you could count on to rise to the occasion and get the job done, the kind they don’t make anymore,” Voight says. “Hey, if I was in a jam, I’d hire Liev!”

Schreiber is flattered by the compliment, but he’s not buying it. “I guess I’m good in a pinch, like if there’s an accident on the road and you need help, but I’m really pretty scatterbrained,” he says. “I’m not focused ororganized or calm, composed and confident like Ray. Hell, half the time, I can’t even find my glasses.”

Ray Donovan returns Sunday, July 12, 9/8c, Showtime.

Binge Guide: The Best Reasons to Stay Indoors This Summer

Ready, set, binge! This week’s issue of TV Guide Magazine features these must-see series to catch up on this summer:

The Americans (39 episodes, available on Amazon and iTunes)
Bloodline (13 episodes, available on Netflix)
Broad City (20 episodes, available on Amazon, Hulu and iTunes)
Empire (12 episodes, available on Amazon, Fox.com, Hulu and iTunes)
Fresh Off the Boat (13 episodes, available on Amazon, Hulu and iTunes)
Hannibal (29 episodes, available on Amazon and iTunes; current season: NBC.com)
The 100 (29 episodes, available on Amazon and iTunes)
Longmire (33 episodes, available on Amazon, iTunes and Netflix)
Marvel’s Daredevil (13 episodes, available on Netflix)
Orange is the New Black (40 episodes, available on Netflix)
Other Space (8 episodes, available on Yahoo! Screen)
Outlander (16 episodes, availble on Amazon, iTunes and Starz.com)
Transparent (10 episodes, available on Amazon)
Unbreakable Kimmy Schmidt (13 episodes, available on Netflix)
Vikings (29 episodes, available on Amazon and iTunes)
Younger (12 episodes, available on Amazon, iTunes and TVLand.com)

These 5 shows land in our Bingeworthy Hall of Fame:

Friday Night Lights (76 episodes, available on Amazon, iTunes and Netflix)
Fringe (100 episodes, available on Amazon, iTunes and Netflix)
Justified (78 episodes, available on Amazon and iTunes)
Melrose Place (226 episodes, available on available on Amazon, Hulu, iTunes and Netflix)
Parks and Recreation (125 episodes, available on Amazon, Hulu, iTunes and Netflix)

And here are 4 foreign shows that shouldn’t be lost in translation):

The Fall (11 episodes, available on Netflix)
A Place to Call Home (23 episodes, available on Acorn)
Please Like Me (16 episodes, available on Amazon and iTunes)
The Wrong Mans (10 episodes, available on Hulu)