Messing's post was written in response to a tweet from President Trump, which criticized a statement from the actress regarding his upcoming Beverly Hills fundraiser. In a tweet, Messing asked for a list of the event's attendees, writing "The public has a right to know."
"I have not forgotten that when it was announced that I was going to do The Apprentice, and when it then became a big hit, helping NBC’s failed lineup greatly, @DebraMessing came up to me at an Upfront & profusely thanked me, even calling me “Sir.” How times have changed!," Trump wrote.
In response, Messing fired back on Twitter with a list of mass shootings that have taken place in the United States.
"Will and Grace" star Debra Messing blasted President Donald Trump Sunday, criticizing his focus on her tweets in the midst of a mass shooting and a large hurricane.
"So! Don’t tell me the Bahamians have lost their homes, their Lives by Hurricane #dorian," Messing wrote in an Instagram post. "It was Trump. I woke up this morning to my phone notifications going crazy. What was on Trump’s mind in the midst of such tragedy, was me. NOT reversing his decision to move $155 MILLION DOLLARS from FEMA Disaster Fund to ICE. I got scared. NOT CALLING McConnell and demanding an end to the recess, and an emergency meeting to pass the gun violence bills passed by the House months ago. Nope. Don’t tell me there is a 3rd mass shooting this weekend! I thought “Oh NO! The LAST thing that should be on his mind or in his tweets."
The majority of Americans want assault weapons ban. Take Action and I’ll call you Sir." "America wants universal background checks. "Now that I know I have your attention  @realDonaldTrump, please read this thread— a PARTIAL list of souls lost to preventable,devastating gun violence," Messing wrote.″ />

In bizarre and outlandish sketches — set on a thrown-together game show, in a focus group overtaken by petty social competition, or in a house entirely decorated with "Garfield"-themed furniture — Robinson follows his particular fixation with socially thwarted characters, often men whose free-floating anger makes them ultimately pathetic, to terminuses far from where each sketch began. The comedian Tim Robinson's new Netflix series, "I Think You Should Leave," was an instant standout when it debuted last week.
While some notes were likely given throughout these shows' development processes, the key to their artistic success is that it never feels like there were. All of these programs don't just thrive on oddity (that alone, on the medium that gave us "Mr. Their shared trait is an outright refusal to compromise, a seeming headlong sprint away from what would make them a potentially broad consensus hit. Show" and "Arrested Development," and, more recently, "Atlanta" and "Barry," is hardly new). Those are less thrilling shows, even if they'd seem to fit into the TV landscape more comfortably. It's easy to imagine the "Russian Doll" with a tidier explication of its universe's rules, or a "Pen15" in which charismatic child stars rather than loose-limbed and loopy adults play the leads, or the "Other Two" with one fewer Debra Messing in-joke.
The best shows of the year so far have tended to be comedies that feel like the culmination of a vision that came to air with little network interference, shows that are so flamboyantly themselves that they go farther than alienating some portion of the audience: They're proudly niche. And, in another sense, it's part of a growing trend. In today's TV landscape, "I Think You Should Leave" is one-of-a-kind.
When you're a person who likes "Pen15" or "I Think You Should Leave," it feels as though it was made for you. All of these shows, anecdotally (as we'll never know viewership numbers for the three streaming series), have found fans for whom their unwillingness to try to appeal to anyone not on their level matters. And in an especially fickle time for the TV audience, even a small fan base matters.” /> It's a lesson that TV-makers, at the writing and at the corporate levels, could take: The rewards for minting a broadly appealing hit, insofar as the TV infrastructure even supports such a thing still, are huge. But hewing to a vision, even one that threatens to cut off some segment of the audience, will keep at least a petite fan army loyal.
Or Hulu's "Pen15," the best show of the year so far, whose oddball central choice — casting its two adult creators as young teens, and then surrounding them with child performers playing their contemporaries — opens up strange and painful insights about the middle-school experience to those willing to stay with the show. Consider, for instance, Comedy Central's "The Other Two," a show so granular in its understanding of how fame is manufactured and so obsessive in its references that its potential fan base is limited to people with a working knowledge of Justin Bieber's music and Justin Theroux's persona. Or Netflix's "Russian Doll," whose experimentation with format, philosophical musings, and voraciously performed lead character inhibit casual viewing while glancing at Facebook; it's a comedy that coexists with "Friends" and "The Office" reruns on the streamer but that seems like their diametrical opposite as regards ease of consumption.
Shows don't need to be broad to thrive on streaming platforms — a fact that has in some ways sucked a bit of fun out of the TV-watching experience, as basically no streaming show is watched by its group of fans at the same pace or at the same time, making conversation hard but not impossible. They're small, with their specificities emerging out of character: Two girls dealing with social incidents at school, a pair of twins metabolizing family trauma and success, a woman fighting for life and figuring out who she is and what she needs, a whole set of lost and confused Robinson creations. When you're tuned to their frequency, though, these little stories feel massive in their accumulation of specific, true detail. All of these shows, unlike the equally odd "Atlanta" and "Barry," notably don't feel ambitious to diagnose the modern condition or to tell stories of operatic sweep; unlike shows including "BoJack Horseman," they don't feel studied in their strangeness. But the conversation that still managed to spring up around streaming series "Pen15" (renewed today by Hulu), "Russian Doll," and "I Think You Should Leave," as well as around "The Other Two," which airs on a linear network but feels infused with a streaming-era sensibility, proves what the changes in TV over the past half-decade or so have given us, too.
Indeed, they stand as evidence of the sort of comedy that's possible when one doesn't have to fulfill "SNL's" mandate of broadly acceptable, widely understandable comedy. So too would an "I Think You Should Leave" that feels less knotty and rageful and more like, well, "Saturday Night Live." Notably, all of these shows have the NBC sketch show somewhere in their DNA; Robinson has written and appeared on the program, "The Other Two" was created by former head writers Chris Kelly and Sarah Schneider, and "Russian Doll" and "Pen15" were produced by, among others, Amy Poehler and Andy Samberg, respectively. But given that these shows make the proudly quirky "SNL"-alum sitcom "30 Rock" feel fairly conventional by comparison, it's hard to sort these shows within the Lorne Michaels diaspora.

John Cho's thriller "Searching" is projected to exceed expectations with upwards $5 million at 1,207 venues and Lionsgate's science-fiction actioner "Kin" will wind up with less than $4 million at 2,141 sites. Warner Bros.' fourth weekend of shark tale "The Meg" should lead the rest of the pack with around $12 million to push its total past $120 million. MGM's opening of "Operation Finale" and Paramount's sixth weekend will battle for third with about $8 million each for the Friday-Monday period.
Warner Bros.' romantic comedy will become the fourth title this year to three-peat as the box office winner, following "Jumanji: Welcome to the Jungle," "Black Panther," and "Avengers: Infinity War." "Crazy Rich Asians," which has received strong critical support with a 93% "fresh" rating on Rotten Tomatoes, has topped $88 million in its first 16 days and will probably pass the $100 million mark by Saturday.
"Crazy Rich Asians" will easily win its third box office title during the Labor Day weekend box office with a total of around $25 million at 3,536 North American sites for the Friday-Monday period, early estimates showed.
Sony is expanding "Searching" after taking in $483,978 at nine locations in its first six days. Cho portrays a father trying to find his missing 16-year-old daughter with the aid of a detective, played by Debra Messing. The movie, which premiered at the Sundance Film Festival, has been embraced by critics and carries a 90% "fresh" rating on Rotten Tomatoes. Sony is projecting a quiet $3 million take for the weekend but the film is performing above that level.
"Kin" stars Jack Reynor, Myles Truitt, Zoe Kravitz, Carrie Coon, Dennis Quaid, and James Franco. The film centers on Reynor's recently paroled ex-con and his adopted teenage brother, who are forced to go on the run when they find a strange weapon. Reviews have been largely negative, with a 35% rating on Rotten Tomatoes.
Heading into the final weekend of summer, the season's box office is up 13.9% over last year's total to $4.26 billion, according to comScore. Those margins should widen by Labor Day, due to the 2017 weekend being one of the slowest ever with a $76.4 million, led by "The Hitman's Bodyguard" with $13.3 million.” /> 29, overall North American box office had gained 9.4% to $8.21 billion. As of Aug.
"Operation Finale" follows Israeli Mossad agents who captured SS officer Adolf Eichmann (Ben Kingsley), one of the chief architects of the Holocaust, in 1960 in Argentina. Oscar Isaac stars as Israeli officer Peter Malkin. "Operation Finale" opened on Wednesday with $1 million at 1,818 locations and earned another $726,000 on Thursday. Reviews have been mixed to positive with a 61% rating on Rotten Tomatoes.