Like the flavor of cilantro, or garlic with a history of using racial slurs in its standup act, Sarah Silverman is a difficult taste to acclimate to if you’re not there already. Some people may have been born loving her, some learn to, and some people never will. 5r5w3w

If you belong to the first category, then get this: We’ve assembled a list of some of Silverman’s best performances across a career that’s spanned 30 years, even if it seems like that can’t possibly be right. We even left out RENT and Space Jam: A New Legacy, because that’s how much we love you. Enjoy.

The Sarah Silverman Program u483g

The Sarah Silverman Program was ahead of its time in so many ways. It ruined child beauty pageants before It’s Always Sunny in Philadelphia, took down a bunch of culturally untenable episodes before The Office and 30 Rock, and fired Dan Harmon before Community. 

It also presented a Chuck Jones-ian, unblinking force for chaotic stupidity in the form of its main character, Sarah, a cannonball of immaturity for whom things always turn out okay. The better part of two decades after its debut, it remains shocking and hilarious and wildly, indescribably stupid. 

Oh, if you count the fact that it got canceled after three seasons, it was also ahead of the curve re: making Jay Johnston unemployed.

I Love You, America 491544

It didn’t last long, but I Love You, America had a noble premise: become Mister Rogers, but for adults in a post-2016 election world. Inspire a sense of community between neighbors being fed a diet of disdain by the media, social and otherwise. It didn’t always work, and by the time the episode with Sarah’s eyewear provider rolled around, she was clearly as tired as most of us would be for the next six years, but it was a nice idea.

Jesus is Magic 333811

If you don’t like Sarah Silverman, you won’t like Jesus is Magic, the 2005 concert film that The Guardian called “comedy gold,” The New York Times disapprovingly referred to as a 72-minute Aristocrats joke, and Roger Ebert described as filling him “with an urgent desire to see Sarah Silverman in a different movie.” The deeply uncomfortable material and cherubic delivery make for deeply upsetting viewing for anyone not already sold on Silverman’s whole deal. If you’re fond enough of her to buy the ticket, it’s worth the ride.

That segment from Jimmy Kimmel Live! where she told her boyfriend what she was doing to Matt Damon 59x2l

There’s a chance that you’re too young to this, but in 2008, Sarah Silverman went on her then-boyfriend Jimmy Kimmel’s show to further the just-blossoming feud between the late night host and Bourne Etc. star Matt Damon. This was accomplished via a music video for an original number, the name of which we can’t even repeat here. What began as a soulful, melodic guitar riff swiftly transformed into a wide-eyed celebration of two people’s bodies – specifically, Damon and Silverman’s. 

The result was crass, horrifying, catchy, and Emmy-winning, and it will still to this day get you fired if you watch it at work. Also worth mentioning: It inspired the less funny but infinitely more expensive follow up on the subject of what Kimmel was doing with Ben Affleck. 

That weird period in the ‘90s when nobody was sure what to do with her 5z473a

Lots of performers go through an awkward, pre-fame phase where they haven’t been “discovered” yet and their agents don’t quite seem to know what to do with them. Silverman’s was a doozy, and it gave us an entire genre of television: “Shows where Sarah Silverman shows up, terribly miscast, and you think for a second that you’re having a stroke before you realize that she was just a working actor in the ‘90s.”

Examples include: An episode of Star Trek: Voyager where she plays the scientist from the past who falls in love with Tom Paris, an episode of JAG where she plays a public affairs officer who falls in love with Rabb, an episode of Seinfeld where she plays a woman with restless leg syndrome who falls in love with Kramer, and an entire season of Saturday Night Live where she presumably didn’t fall in love with anything, considering how she’s talked about the experience in the years since.

Comedian Sarah Silverman has found herself in the middle of a colossal controversy surrounding the ongoing issues in the Middle East. Celebrities often use their platforms to discuss world politics, but it seems the Wreck-It Ralph star may have overstepped the line with her decision to wade into a hotbed issue with comments that which have achieved nothing but igniting a fiery debate among people online.

This isn’t he first time a big name voicing an opinion on the conflict has drawn fire for their stance. Last year, Harry Potter star Emma Watson was called out by of the Israeli government for her pro-Palestinian position. However, this time it’s a little different, as Silverman is facing criticism for an Instagram story that seems to dismiss the suffering being endured by Palestinian people. Some have even gone as far as calling her post “genocidal.” The post obviously kicked off a pretty intense debate on social platforms like X and Instagram.

Sarah Silverman shared this genocidal post on Instagram about Gaza. pic.twitter.com/7gfQhRBfFz

— Lowkey (@Lowkey0nline) October 19, 2023

Many thought that Silverman’s stance came across as if she was blaming the Palestinians for the issues they face right now, with others calling her out for disregarding the horrific acts committed by the Israeli government against Palestinians.

“Israel is pulling out all the stops in their Media blitz to try and justify their genocide of the Palestinian people. I guess they realise that there is strong pushback.”

On top of this, parts of her statement are just plain wrong. Twitter s focused on her comments about infrastructure and Hamas’ decision to fund weapons over power plants and water resources. However, most of these vital resources have been occupied by Israeli forces, meaning those in Palestine are unable to provide electricity and water for themselves.

“*Occupy all water resources * Cut off water to Palestinians * Claim that this is all the Palestinians fault Sarah Silverman is a truly evil person.”

Of course, there are two sides to every coin and just as many were ive of what Silverman had to say. Innocent civilian lives are at stake on both sides, and there were those who saw the post as a plea for Israeli hostages to be released.

“She’s right, otherwise this exercise will keep happening forever. This time they woke the bear and it won’t end well for them because it will end.”

The Instagram story was taken down pretty quickly by Silverman herself, who revealed to inquiring fans on Twitter that she regrets speaking out on the situation in a “fury” while “stoned.” However, it looks like the damage may already be done, as the debate over her words continues to rage on across the rest of the internet.

The development of Artificial Intelligence technologies like ChatGPT and LLaMA has been a point of contention this year. Although AI has evolved to be capable of holding a semi-coherent conversation, its detractors – Sarah Silverman among them – have pointed out that these programs are merely taking other works of writing and mashing them together to form a new response.

That’s why three authors – Silverman, Christopher Golden, and Richard Kadrey have opted to file a lawsuit against OpenAI and Meta over dual claims of copyright infringement. As The Verge reports, one of the central claims of the suit alleges that both OpenAI and Meta had ‘trained’ their AI using illegally-acquired datasets from ‘shadow library’ websites like Bibliotok, Library Genesis, and others.

The three authors offered exhibits showing that ChatGPT will provide summaries for their works when prompted. The examples used were Silverman’s Bedwetter, Golden’s Ararat, and Kadrey’s Sandman Slim. The suit notes that the programs failed to “reproduce any of the copyright management information Plaintiffs included with their published works.”

Meanwhile, a separate lawsuit against Meta alleges that the authors’ books were accessible in the datasets used to train the company’s LLaMA AI Model. While none of the plaintiffs have offered an official word on the suit, they are hoping for restitution of profits, statutory damages, and more.

The case formalizes concerns that the wider writing community has had about intellectual ownership and AI models. Since the field of AI is so new, thorough regulations have not been put into place regarding the rights of the author and their works – meaning that, thus far, AI models have been trained with literary works that have not been approved for this use.

A similar issue has popped up regarding visual art-based AI programs like Midjourney. Back in February, a group of artists filed a class-action lawsuit alleging that they had given no consent for their works to be used in the datasets, that they had not been compensated, and that they had not been credited. Image-generating AI programs operate similarly to writing-based AI programs, with the program creating a ‘new’ work by essentially mixing and matching pre-selected images.

Creatives have infamously been against the use of AI in various industries, with detractors pointing out that they deserve, at the bare minimum, proper compensation for the use of their work. Others point out that, on a more spiritual level, it takes a human to properly write about the struggles of the human experience.

This case has the potential to make quite a splash. Should the courts rule in favor of Silverman, Golden, and Kadrey, these AI models might face major setbacks in their continued development. With the possibility of entire industries being stripped of labor rights thanks to AI, however, regulations and laws must be put into place now.

Kanye West has stirred controversy once again with an anti-Semitic post made on Twitter, and, as expected, multiple big name celebrities are condemning him for his actions.

The since-deleted tweet of West’s threatened violence against Jewish people in the latest chapter of “Kanye West needs to shut up”, with his tweet echoing the New World Order anti-Semitic conspiracy theory.

Halloween Ends star Jamie Lee Curtis slammed West, with her referencing past threats towards the group resulting in genocide. Curtis comes from a Hungarian-Jewish family, and called on West to improve, saying “words matter”.

Comedian Sarah Silverman tweeted her disgust, also citing how she feels it’s only Jewish people who stand up and call out antisemitic attacks online. Silverman says it “wasn’t even trending”, although it had been trending on Twitter and other social media websites before its deletion.

Michael Rapaport, who had previously defended West, went back on his comments and likened Ye to far-right politician Marjorie Taylor Greene for his rhetoric. West’s tweet was made doubly bizarre with his defense of it, saying “I actually can’t be anti-Semitic because black people are actually Jew also You guys have toyed with me and tried to black ball anyone whoever opposes your agenda.”

BotSentinel’s founder Christopher Bouzy believes the tweet should’ve been the exact moment Twitter banned him from the platform, but instead he was still active on the site until late Sunday night when he was finally de-platformed like he was on Instagram.

West had also appeared on Tucker Carlson’s Fox News program, with him espousing his belief of artist Lizzo being hunted by demonic bots for losing weight. The rapper is clearly in need of mental health

Sarah Silverman is no stranger to controversy — she has previously used racial slurs like the word “chink” and even did blackface for a sketch on The Sarah Silverman Program back in 2007. Plus her inappropriate jokes about Paris Hilton and Britney Spears were not well received either.

Still, it looks like she’s ready to jump into another pot of boiling water once again. In a recent episode of The Sarah Silverman Podcast, she actually endorsed secession as a way to allow those in more conservative states to not need to take the COVID-19 vaccine while other states could require vaccine ports.

“I mean this may be a negative thought, or maybe a positive one, I don’t know. But if people aren’t getting along like in relationship, they break up, you know? So like, why don’t we just finally just realize that this, these states aren’t working and like, divide up into like two or three countries? It’ll be like USA 1 and USA 2.”

She then went on to explain her idea further.

“Like the conservatives can be USA 1 because they love being number one and it means something to them and I’d love to have that be theirs. They can be USA 1. We’ll be USA 2 and we’ll be allies.And you’ll come over here and we’ll go over there, and you know, when you come to certain… Many times, when you go to a different country, you have to get a vaccine. That’s that.”

While polls have shown a large percentage of Americans would secession from the United States, there has never been a serious modern attempt to do so that has ever gained any ground. So while Sarah Silverman may think it’s a good idea, it’s not likely to go anywhere.

Despite the fact that Disney have made a movie about an 8-bit game character for children who have never played an 8-bit game, this previous weekend’s box office receipts prove that, you know, bright colors and the promise of Sonic the Hedgehog are enough to bring in the big crowds as Wreck-It Ralph scored an impressive $49.1 million in North America alone. The film has also been a surprise critical hit, which is somewhat surprising given that everybody kind of thought it would be an unfledged diaster. Dave Hollis at Walt Disney Studios referenced Hurricane Sandy in his reasons for the large audience haul:

“In a nice way, Wreck-It Ralph ended up actually becoming an opportunity to relieve yourself from the reality that might be going on around you. I don’t know if it was a function of cabin fever or just escaping by getting into a movie theatre, but there was definitely a gravitating towards the theatre phenomenon.”

Could hurricanes turn out to be a new marketing tool for studios hoping to usher depressed patrons into their local cinemas? You never know. Wreck-It Ralph features the voice talents of John C. Reilly and Sarah Silverman, and tells the story of a video game baddie who attempts to become a good guy. Aw. Source: BBC News

In the decades since Walt’s death, Disney Animation Studios has struggled to find a consistently successful identity – people forget that the “second renaissance” of 1989-1994 was, creatively at least, a blip on the radar that collapsed upon itself the moment Pocahontas came dead on arrival – and every half-hearted attempt to reinvent the boundaries of the Disney brand – like The Black Cauldron, Treasure Planet, or Atlantis – has been followed by a hasty retreat into safer, Princess-based territory. That’s what The Little Mermaid was, that’s what The Princess and the Frog and Tangled attempted to do, and though audiences responded to those films to varying degrees, Disney has never been able to craft a solid, consistently prosperous artistic environment by doubling back on itself. The only way to truly put Disney animation back on the map long term – and I think Walt himself would agree with this sentiment – is to boldly march forward, innovating for the future and enabling creative voices that can break the mold and take audiences to exciting new places. That seems to be the ethic behind Rich Moore’s Wreck-It Ralph, an absolutely wonderful film that is nothing short of a glorious, full-blown rebirth for Disney Animation Studios. This is the most creative, energetic, intelligent, and powerfully heartfelt film to come out of the animation department in decades, and one of the very best in the entire Disney canon. The premise alone indicates how far the film is willing to stray from the studio’s comfort zone. Protagonist Ralph is the antagonist of an old-school arcade game, “Fix-It Felix, Jr.,” and has spent the past thirty years bashing down a pixelated apartment building only to have Felix come and repair it. Ralph has grown weary of being scorned by the inhabitants of his game world, and attends ‘bad-guy’ groups comprised of other video game villains – some of them taken from the real world, like Bowser, Dr. Robotnik, and M. Bison – all of whom live in an arcade connected by ‘Game Central Station.’ Moore and his team have a ridiculous amount of fun bringing this video game world to life, and their knowledge of retro gaming goes much deeper than surface. Countless easter eggs and in-jokes pepper the movie, all of them clever on visual and conceptual levels. It connects perfectly with a person my age who grew up on this stuff, but even if you don’t understand why it’s funny for Ralph to visit Tapper’s bar for a drink, the world of the film is so richly detailed and fully realized that you’ll be swept up all the same. There’s an undeniable energy to Wreck-It Ralph, a strong, borderline manic sense of artistic enthusiasm that permeates every frame, imbuing each idea, detail, and gag with the kind of pure, uncompromised fun Disney is capable of achieving at its very best. Much of that has to do with the talent involved – Moore, a longtime Simpsons director, is clearly capable of shaking things up in exciting ways – but it’s even more important that this isn’t bound by Disney stereotypes or clichés. The video game landscape is 100% different than any other animated world the company has brought to life, and that allows the artists to innovate on every level. The animation is stellar, lush and colorful and bursting with life and vitality at every turn; the appealing character designs are a little unlike anything else in the world of CGI, and there are set-pieces on display here that exhibit true tension and genuine, edge-of-your-seat thrills. It isn’t an overstatement to say that every single minute of the film offers a new, boundlessly imaginative jaw-dropping sight. Musically, composer Henry Jackman has a field day mixing customary, theme-based film score with various video game styles, from bouncy 8-bit simplicity to intense, techno-driven mayhem. The voice cast also does great work across the board, and though there are some big names here, it seems that everyone was chosen for the talent they bring to the table, not for the value they give the advertising. Everyone sinks comfortably into the world around them, another artistic tool for the storytellers to play with. Wreck-It Ralph is a stylistic triumph on every possible level, and I think that even if that was all the film had to offer, it would still be a significant step in the right direction given how aesthetically generic Disney has been recent years. But as well as Moore and company realize the technical parameters of the premise, it’s the emotional content at the heart of the picture that really hits home. Audiences will be surprised to learn that the video game setting is actually a springboard for a profound existential discussion of social identity, explored in smart, adult that never panders or waters down the heft of its message. Ralph’s quandary, after all, speaks to the labels or strictly defined roles many of us live with every day and are, in some cases, born into. Ralph wrecks things not because he’s angry or violent, but because that’s the part he’s been given; society has not only dictated what he does, but how he is viewed. The other inhabitants of ‘Fix-It Felix’ treat Ralph like a pariah, and after spending thirty years worth of nights alone, he decides that the only way to take control of his destiny is to go visit other video games and win a medal, just like Felix does every day, in the hopes that a physical symbol of success may make others view him differently. These are real, tangible emotions Ralph deals with, and the film wisely never turns any of them into a gag. The childlike determination with which Ralph seeks his medal serves as an almost uncomfortably authentic portrait of the desire many of us feel to break away from society’s rigid, pre-determined paths, and I will it to being moved to tears on more than one occasion at the emotional heft of the material. Much of that also comes from Vanellope von Schweetz, a little girl in a candy-coated kart racing game Ralph meets on his journey, a person who struggles with the same issues as Ralph. In her game, Vanellope is a ‘glitch’ and, as such, an outcast. Like Ralph, it’s not a role she chose to play, but it’s what life handed her, and though she’s bubbly and optimistic, she’s just as desperate to define herself on her own as Ralph. The relationship they share is a beautiful one, not just for the unique, entertaining way the characters complement each other, but for the highly relatable feeling of healing they sense learning that someone else shares their pain. Wreck-It Ralph approaches Pixar levels of emotional honesty and nuance, especially in its back half, and that, more than anything else, is where I see this as a major innovation for Disney. Much as I love some of the company’s animated ‘masterpieces,’ I think anyone can it that most Disney classics keep themselves at an emotional arm’s length from the audience, dancing around various feelings or issues without ever making them fully felt. Wreck-It Ralph is all about the emotional context of its big ideas, and that allows it to connect in ways that, for me at least, some of the ‘classics’ never can. And that is precisely what I want to see from Disney moving forward. I want the company to evolve, to use nearly eighty years of history as a springboard to a brighter creative future, and Wreck-It Ralph, for the first time in a long while, makes me very optimistic about the studio’s prospects. This is one of the only animated Disney films I love unreservedly – partially due, I must it, to the smart and savvy way it pokes fun at the company’s troubled, Princess-fueled gender politics – and easily the best American animated film of 2012. It’s a film parents can show their kids with complete confidence, and one adults can enjoy just the same. If it’s the hit I suspect it will be, I hope Disney gets the message and continues to innovate. I would hate to see them pull into reverse after this.

Jack Black hasn’t had the best track record in the past decade or so, but he’s always had a few brief moments in the sunlight where his comedy works. Richard Linklater‘s School of Rock is one of those rarities and I’m starting to think that Black should just stick with Linklater from now on out (especially after seeing the two work together recently in Bernie). School of Rock has your usual Linklater heart and soul, with extra emphasis on heart, because of Black’s ion for music. The two work together like salt and pepper, with Linklater providing the proper beats to get the film going and Black injecting his zany brand of humor and rock expertise around every corner. Dewey Finn (Jack Black) is a never-been rock star. His biggest moment involve jumping off a stage into an empty crowd at some smelly bar in the middle of the afternoon. His rock dreams never panned out, but that doesn’t stop him from jamming every single day to his favorite Led Zeppelin or AC/DC songs. His roommate Ned (Mike White) throws him an ultimatum and he’s forced to find a job and pay his half of the rent by the end of the week or face life out in the cold without a place to call home. At this same moment a call comes in for Ned requesting his skills as a substitute teacher at an uptight private elementary school. Dewey poses as Ned and takes the gig and eventually carves his name into fictional rock and roll history. Director Richard Linklater is most well known for his popular teenage coming-of-age film Dazed and Confused and also for his general ability at crafting human emotions without too much darkness or over-complication. His films tend to be funny and sweet without too much of that real-life pressure weighing down the characters or even the audience. School of Rock is Linklater firing on all cylinders and the result is nothing short of impressive. He managed to pull Jack Black out of a slump and in doing so he made a comedy that was funny and almost sort of inspiring because of its overall message. It’s mostly surface-level stuff and not nearly as memorable as some of Linklater’s other films, but School of Rock still to this day remains one of the better Jack Black efforts and a great homage to some of the greatest rock bands of all-time.

Paramount brings School of Rock to Blu-Ray with a cool 1080p transfer that is steady and eye-pleasing. There’s a natural reveal of grain throughout the presentation, but that never holds complete details and textures back. It’s a hearty picture, with all of your necessary colors. Things are slightly on the dull side though and that’s due to the film’s set design and locations. The 5.1 DTS-HD Master Audio track is another rocking catalog experience from Paramount. The back channels soak up the shredding guitar solos and fun lyrics and the front channels focus more on dialogue. Well-balanced is a good way to describe this track, because almost everything shares equal importance when it comes to distributing the rock. School of Rock comes to Blu-Ray with the following special features:

• Audio Commentary
• Kids’ Kommentary
• Lessons Learned on School of Rock (SD)
• Jack Black’s Pitch to Led Zeppelin (SD)
• School of Rock Music Video (SD)
• Kids’ Video Diary: Toronto Film Festival (SD)
• MTV’s Diary of Jack Black (SD)
• Dewey Finn’s History of Rock (HD)
• School of Rock Theatrical Trailer (HD)

Richard Linklater’s School of Rock remains one of the better Jack Black films in his career and one of Linklater’s more consistent efforts. Paramount’s Blu-Ray is a quality catalog title that comes with all previous bonus material, a hearty video encode and a loaded audio track. School of Rock might not be the most memorable film depicting love and appreciation for legendary rock music, but it is a film with some important messages about never giving up on your dream and never forgetting about that little kid inside of all of us. Sometimes life is just about having fun and living your dreams and I give credit to Linklater and Black for conveying that message loud and clear.

Sarah Polley, who is mainly known for being an actress in such films as Splice, Go, and the remake of Dawn of the Dead, gave us her directorial debut six years ago with the film Away from Her. It was a fascinating story of an elderly woman (played marvelously by Julie Christie) who develops Alzheimer’s and how her husband attempts to cope with the situation. Now she returns behind the camera for her sophomore effort which involves a different kind of couples drama. First we meet Margot (Michelle Williams), who is traveling in order to update a pamphlet at a historic site. It is here that she first meets Daniel (Luke Kirby), a man that she ends up sitting next to on the plane ride home. Strangely enough, he actually lives right across the street from her and her husband, Lou (Seth Rogen). Lou and Margot have a rather strange relationship. At times they seem quite happy, like when they are joking and being all lovey-dovey with each other. At other times, one will randomly spurn the advances of the other. This leads her to strike up a relationship with Daniel, which gets stronger and stronger as the film goes on. If that synopsis gave you a feeling of déjà vu, then don’t worry, you’re not alone. This is a premise that has been done countless times before, and in more interesting ways. What the film basically boils down to is a woman who is split between two men, and though we’re supposed to be feeling something for all three of these characters, it becomes really hard to do so. This is not the fault of the performers, but more so problems stemming from the screenplay. We’re supposed to get the feeling that these people really do exist, which would lead to caring about what happens to them. However, Polley’s screenplay uses such a basic, clichéd premise that these characters are never allowed to become fully-formed people. When the story gives you no reason to care about the characters in a film that stretches on for a bloated runtime of two hours, it can make for a very long sit. Aside from that, there are other annoyances that the film offers. I’ve already mentioned how Lou and Margot have a strange relationship, but that actually ends up being one of the film’s problems. It shifts back and forth so randomly between their irritating lovey-dovey behavior to the sudden desire to be left alone that you eventually just wish that they would make up their minds. There’s also the problem of a random sideplot involving an alcoholic relative, played by Sarah Silverman, that doesn’t have anything to do with the main plot whatsoever, making it nothing but a hindrance as the audience is struggling to find reasons to care about what’s happening between Lou and Margot. On the brighter side of things, the performances are actually pretty good. Williams, who was recently nominated for an Oscar for her wonderful performance in My Week with Marilyn, does a great job of playing a woman torn between wanting to be with a new man and not wanting to hurt her husband. Rogen and Kirby do a decent job with their characters, giving it their all, but, like Williams, they aren’t given very much to do with this premise. When the film does finally come around to concluding its main plot, which is obvious from the start of the film given Polley’s strange decision to show us who Margot is with, you would think that the film would go ahead and end, right? Not so. It drags on for about 15 more minutes, lengthening a film that was already too long in the first place. Films like this can, and have, worked before, but unfortunately Polley decided to make her take on this story very plain and bland, not doing anything in the way of spicing it up or making it interesting. It’s a rather big disappointment given that her 2006 debut was so well done. We can only hope that she’ll overcome this hurdle and bounce back with a new project to stun audiences once more.

Yesterday, we reported on some new details and photos from Disney’s latest animated adventure, Wreck-It Ralph. Today, the studio continues their marketing campaign with the first trailer for the film. Set in the world of video games, Disney’s 51st animated feature is the story of an 8-bit game villain who becomes fed up with being the bad guy after 30 years of smashing buildings. Voiced by John C. Reilly, Ralph sets out on an epic quest through other video game worlds to find a place where he can be the good guy for once. It sounds like a great, creative premise, and while I’m not completely sold by the trailer, I’ll still definitely check this one out when it arrives in theatres on November 2nd.

Sarah Silverman is developing a comedy sitcom loosely based on her own life under the direction of Imagine TV’s Ron Howard. The project received a pilot committment from NBC after they won an extensive bidding war earlier this fall.  This untitled pilot is the latest in NBC’s aggresive push for new material. The show will focus on a young women adjusting to life on her own after a long-term relationship ends.  The script was co-written by Silverman, Dan Sterling, and John Schroeder.  The three worked together previously on her self-titled series, The Sarah Silverman Program, on Comedy Central. The series is likely to get picked up for a full season to add to NBC’s current Thursday night schedule. Sarah Silverman is definitely a polarizing figure; she’s one of those comedians that you either hate or love. I can only assume that her NBC program will be less controversial than The Sarah Silverman Program. What do you think? Let us know in the comments.