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Source: picture alliance / Getty / Elmo
Elmo might be a puppet, but like everyone else, he feels the sting of Donald Trump’s unstable economy and is now searching for new employment.
The internet has been in stitches since a debunked viral post featuring the lovable puppet monster from Sesame Street popped up on LinkedIn. The post features Elmo updating his profile after the Trump administration’s stupid budget cuts.
“Hi LinkedIn, Unfortunately Elmo was recently laid off because of the federal budget cuts,” the post begins. “Elmo worked at Sesame Street for 45 years. Elmo is sad. Elmo loved his time at Sesame Street.”
Like a normal profile on the job-search site, the puppet provided his credentials while sending a heartfelt farewell to friends and other longtime residents of Sesame Street, Big Bird, and Cookie Monster.
“Elmo is looking for his next opportunity,” the post continued. “Elmo is good at so many things. Like hugs. Elmo LOVES giving hugs. Elmo can also recognize the letter E, spell his name, feel empathy, sing ‘Elmo’s Song’ and ask how you are doing. Elmo is open to full-time or freelance roles.”
Elmo’s Post Reflects What’s Going On In The US Right Now
While the unemployment rate in the United States remains steady, currently sitting at 4.2%, it’s not looking good for those who reside on Sesame Street.
Thanks to an executive order issued on May 1 by the Trump administration calling for the cutting of federal funding to PBS and NPR in an effort to save money.
If you’re wondering exactly how much money in the federal budget goes to both entities, Katherine Maher, NPR President and CEO, said, “The appropriation for public broadcasting, including NPR and PBS, represents less than 0.0001% of the federal budget.”
The LinkedIn post has also garnered reactions, which you can see in the gallery below.
3. Blame Donald Trump and Elon Musk
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President Donald Trump signed an executive order late Thursday aimed at ending federal funding for NPR and PBS, accusing the organizations in a social media post of spreading “radical, woke propaganda.” The official order, found on the White House website, directs the Corporation for Public Broadcasting (CPB) and other agencies to halt both direct and indirect public financing to the public broadcasters.
“Today the media landscape is filled with abundant, diverse, and innovative news options,” the order states. “Government funding of news media in this environment is not only outdated and unnecessary but corrosive to the appearance of journalistic independence.”
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This move follows a pattern of Trump leveraging executive powers to defund or dismantle institutions he deems oppositional, including cultural and educational organizations like the Kennedy Center and National Endowment for the Humanities.
The legality of Trump’s order is in question, however, as CPB is a private nonprofit entity and not a federal agency.
CPB CEO Patricia Harrison emphasized its independence from presidential authority, stating the executive order is not legally binding. “Congress directly authorized and funded CPB to be a private nonprofit corporation wholly independent of the federal government,” she said.
PBS president Paula Kerger condemned the executive order as “blatantly unlawful,” adding that it jeopardizes the broadcaster’s long-standing public service mission. She highlighted PBS’s bipartisan congressional support and its role in delivering educational and cultural programming.
NPR also pushed back at the order, vowing to defend itself through all legal avenues. The organization asserted that Trump’s action is not about fiscal responsibility, as public broadcasting receives less than 0.0001% of the federal budget, but rather an attack on First Amendment rights and press freedom. “We will vigorously defend our right to provide essential news, information and life-saving services to the American public,” the organization said. “We will challenge this Executive Order using all means available.”
Each year, CPB allocates about $535 million in taxpayer funds to public broadcasters and content producers. Although NPR and PBS have anticipated funding threats since Trump’s 2016 election, the administration’s latest action escalates those concerns. The Trump administration has also proposed a $9.1 billion budget cut package that includes rescinding CPB funding, though the proposal has yet to reach Congress.
This action mirrors similar efforts by the administration to suppress institutions that provide independent or critical viewpoints. It also coincides with attempts to dismantle the agency in charge of Voice of America and Radio Free Europe/Radio Liberty. Federal courts have previously intervened in cases where the administration withheld congressionally approved funds from media outlets, raising doubts about the legal sustainability of Trump’s latest move targeting public broadcasters.
Critics argue that cutting funding to NPR and PBS could significantly hinder access to trusted educational and cultural programming, especially in underserved communities. Trump’s executive order may also face strong legal and political resistance, as both public broadcasters have traditionally enjoyed bipartisan support in Congress.
“There’s nothing more American than PBS, and our work is only possible because of the bipartisan support we have always received from Congress,” Kerger said last month. “This public-private partnership allows us to help prepare millions of children for success in school and in life and also supports enriching and inspiring programs of the highest quality.”
The CPB has already sued Trump over his attempt to remove three board members, which would have left the board unable to function due to lack of quorum.
The Associated Press contributed to this report.

If you weren’t lucky enough to attend last September’s all-star tribute to Bruce Springsteen‘s beloved 1982 solo album Nebraska in Nashville, you’re in luck. The show, Bruce Springsteen’s Nebraska: A Celebration in Words and Music will air on PBS on August 31. The first trailer for the special — which is available now on the […]
The inaugural Jazz Music Awards may have set an awards show record for the longest gap between taping and finally being televised. The show was held on Oct. 22, 2022, at the Cobb Energy Performing Arts Centre in Atlanta. It will finally be televised on Monday, Jan. 1 — more than 14 months later.
It will stream on demand that day on PBS Passport. It will also air on Georgia Public Broadcasting (GPB)’s nine stations – WGTV-TV (Atlanta/Athens), WNGH-TV (Chatsworth), WMUM-TV (Macon), WJSP-TV (Columbus), WACS-TV (Dawson), WABW-TV (Albany), WVAN-TV (Savannah), WXGA-TV (Waycross) and WCES-TV (Augusta) – that day at 7 p.m. ET.
It has taken so long to get the inaugural Jazz Music Awards on TV that the producers blew right past the planned date of the second Jazz Music Awards, which they had indicated would be held on Saturday, Oct. 21, 2023.
“We are grateful to partner with Georgia Public Broadcasting,” Wendy F. Williams, the founder and executive producer of the Jazz Music Awards and the general manager of 91.9 WCLK, an NPR-affiliated station, said in a statement. “GPB is an excellent home for the Jazz Music Awards, and we look forward to building a national platform with PBS and its 150 affiliates. GPB presented us with a great opportunity to broadcast and stream our program around the world.”
“GPB is excited to partner with WCLK [an NPR member station] to broadcast and stream the Jazz Music Awards,” said GPB CEO Bert Wesley Huffman. “Through the years, we’ve found ways to collaborate that deepen the value of public media to our respective listening audiences, and The Jazz Awards offer a perfect opportunity to strengthen the partnership between GPB and WCLK while providing a wonderful platform for this treasured art form.”
The Jazz Music Awards is a two-hour awards show celebrating all forms of jazz — traditional, contemporary, vocal, instrumental, and experimental. The show was co-hosted by Dee Dee Bridgewater, a 1975 Tony winner for The Wiz and a two-time Grammy winner, and Delroy Lindo, a 1988 Tony nominee for Joe Turner’s Come and Gone.
Under the musical direction of four-time Grammy Award winner Terri Lyne Carrington, the show featured performances by Dianne Reeves, Kenny Garrett, Orrin Evans, Ledisi, Somi, Lizz Wright, Braxton Cook, Brandee Younger, Jazzmeia Horn, The Baylor Project, Lindsey Webster, and Bridgewater. There were also musical tributes to the late Ramsey Lewis, Pharoah Sanders, Joey DeFrancesco and Jaimie Branch.
Carrington’s band consisted of keyboardist Ray Angry, trumpeter Milena Casado, alto saxophonist Braxton Cook, pianist Orrin Evans, Saturday Night Live bassist, James Genus, drummer and percussionist Nikki Glaspie, percussionist Gerson Lazo-Quiroga, electronics, DJ/percussionist Kassa Overall, tenor saxophonist Marcus Strickland, guitarist Mark Whitfield, and drummer Carrington.
The awards ceremony recognized winners in eight competitive categories. We reported on the winners at the time. You can read who won here or watch the stream and be surprised.
The lifetime achievement award was presented to the late Wayne Shorter. The legend award was presented to the family of the late McCoy Tyner. The three recipients of the awards of distinction were Pulitzer Prize-winner Henry Threadgill for the jazz composer award; avant-garde jazz trumpeter and composer Ambrose Akinmusire for the jazz innovator award; and former U.S. Jazz Ambassador Dr. Lenora Helm Hammonds for the jazz educator award. Additionally, jazz professor James H. Patterson of Clark Atlanta University received the jazz impact award.
The Jazz Music Awards is a nonprofit division of Jazz 91.9 WCLK, located on the campus of Clark Atlanta University, the HBCU (Historically Black College and University) which is the owner and licensee of WCLK.
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In a move we’re sure no one asked for, veteran actor Richard Dreyfuss defended the use of blackface and revealed his true feelings on diversity and the Oscars.
While appearing as a guest on PBS’ The Firing Line, the new criteria by the Academy Awards for eligibility for Best Picture come 2024 came up for discussion by the host, Margaret Hoover. Nominated films are required to meet four benchmarks: 30% of the cast and 30% of the crew must be from an under-represented group are two of the criteria needed. Dreyfuss stated, “They make me vomit.”
When asked why, the Jaws actor replied: “This is an art form. It’s also a form of commerce, and it makes money, but it’s an art. No one should be telling me as an artist that I have to give in to the latest, most current idea of what morality is.” He then went on to add: “And what are we risking? Are we really risking hurting people’s feelings? You can’t legislate that. And you have to let life be life.”
Dreyfuss then praised Sir Laurence Olivier’s portrayal of the tragic Shakespearean hero Othello – while in blackface – in the 1965 film adaptation of the play. “He played a Black man brilliantly,” the 75-year-old told Hoover. “Am I being told that I will never have a chance to play a Black man? Is someone else being told that if they’re not Jewish, they shouldn’t play the Merchant of Venice?”
Hoover responded with a query: “Do you think there’s a difference between the question of…who is allowed to represent other groups…and the case of blackface explicitly in this country given the history of slavery and the sensitivities around Black racism?” To that, Dreyfuss replied, “There shouldn’t be…. Because it’s patronizing. Because it says we’re so fragile that we can’t have our feelings hurt. We have to anticipate having our feelings hurt, our children’s feelings hurt. We don’t know how to stand up and bop the bully in the face.”
Dreyfuss’ defense of blackface seems on-brand given his previous role in the 1986 film Moon over Parador. The interview follows another moment of questionable thinking for the Close Encounters of the Third Kind actor where he slipped off a chair while being interviewed in April by late-night host Bill Maher for his Club Random podcast. Watch the full interview below.
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