"Regarding my recent interview, I wasn't actually sleeping," the 75-year-old actor wrote on his Facebook page. "I'm a beta tester for Google Eyelids and I was merely taking the opportunity to update my Facebook page."

Freeman's humorous response to the viral video, in which he appears to fall asleep while giving an interview with "Now You See Me" co-star Michael Caine, came with a photo of him giving a thumbs-up.

Since the Facebook remark was shared, Freeman's status has garnered more than 18,000 likes and nearly 750 comments, with most reactions praising the actor for his wit and charm in response to the incident.

Watch Freeman appearing to doze off:

On Thursday night's "Conan," Coco shared some pretty interesting footage from the longtime host's recent episodes, and it definitely seems like Trebek is starting to lose it. Watch the clip above to see what we mean.

Creator.

Contributor.

Caretaker.

Conversationalist.

Can you imagine what more this accomplished and concerned profesional will achieve in the coming decades?

One reviewer put it this way:

He does what too little of talk radio or television does these days: conducts civil conversations with a broad spectrum of politicians, newsmakers, performers and writers in a forum where one first has to declare one's political alliances. He's comfortable with conservatives, liberals, and the undeclared; with the profound and the profane, with elder statesmen and the hip-hop nation... he provides one place that helps promote dialogues that might not otherwise take place before audiences who might not otherwise think that they have anything in common.

Take it from me, it's not easy to do. But he makes it look that way. It's why I have trusted Tavis to host my former CNN show on several occasions. It's never about him. It's about the guests, the topic, the discussion. Getting people to talk about what needs to be heard is an art Tavis has mastered.

It's a tribute to Tavis, and his reputation, that the highest-caliber guests want to be interviewed by him: presidents, thinkers, seekers, artists and doers of all kinds. What you might not know is that he quietly helps others. In thought and deed, he is the personification of a role model.

Tavis Smiley is a STAR.

10 Years, 2,000 shows and still the best conversation in late night!

Tavis, you are the best! Congratulations on 2,000 shows; here's wishing you 1,000 more!

Hey, before you know it, you'll be in this game as long as me. Get ready to hold on to your suspenders!

But even at this bastion of the big screen, director after director has come through preaching the opportunities of the small screen. Up and down the Croisette, talk of TV's ascendance is rampant.

"The way that things are moving because of the financing of films, television has almost become where a lot of people seek creativity," said Danish director Nicolas Winding Refn, who premiered at the festival his Bangkok noir "Only God Forgives," starring Ryan Gosling. "It's opened up a whole new arena."

Danish TV's current quality has spread internationally (including "The Killing," which was remade in America). Refn, the director of "Drive," is working on his television debut, a version of the 1969 French science fiction film "Barbarella" for France's Canal Plus.

Refn said that in the past 10 years, TV has leveled the field, creatively, and is now "sometimes much more satisfying than anything around."

"I love television," he said. "I love the size of it. I love to touch them. I like to watch them. I love the remote control. I love the power of the remote control. I love everything about the television."

One of this year's most notable films in competition won't even be released theatrically in the U.S.: Steven Soderbergh's Liberace melodrama "Behind the Candelabra." Hollywood studios passed on the film, which stars Michael Douglas and Matt Damon, suggesting that it was too gay to play at the box office. HBO picked up the $23 million film and will air it Sunday.

Soderbergh, long considered one of America's finest filmmaking talents, is stepping away from moviemaking, but is enthusiastically moving into television. He'll reportedly make a 10-episode series about a turn-of-the-century New York hospital, starring Clive Owen. (Soderbergh also produced the 2003 Washington, D.C., drama "K Street.")

"There's a lot of great stuff being made," said Soderbergh. "You can go narrow and deep, and I like that. And this is all ("Sopranos" creator) David Chase. He single-handedly rebuilt the landscape. Anything that's on now that's any good is standing on his shoulders."

"I don't hear anybody talking about movies the way they talk about TV right now," said Soderbergh.

But Cannes remains one of the great arguments for the vibrancy of movies. Year after year, it gathers together many of the world's best films, and this year's festival, the 66th, has been no different in that respect.

Audiences have been wowed by the Coen brothers' wry melancholy ("Inside Llewyn Davis"), the classical skillfulness of James Gray ("The Immigrant"), the shambling grandeur of Paolo Sorrentino ("The Great Beauty") and many other sensory feasts. At Cannes, cinema is utterly alive.

But there are economic forces at work that have contributed to the shift. As audiences have becoming increasingly fractured, studios have concentrated more on enormous blockbusters. While advances in film equipment have made making a movie easier, getting it seen has become harder.

Director James Toback premiered at Cannes his "Seduced and Abandoned," a documentary he made with Alec Baldwin. The two filmed their sometimes humiliating efforts to find financing – and the necessary marketing budget – for an adult drama. With appearances from Francis Ford Coppola, Martin Scorsese and Roman Polanski, the movie often feels like a funeral for the days of popular, dangerous movies.

"The movie business is tough, and it's tougher now than ever," said Baldwin, who largely stepped out of film to star in Tina Fey's acclaimed sitcom "30 Rock." "Sometimes I wonder if I'll ever make another movie again."

"Seduced and Abandoned," fittingly, was picked up not for theatrical release, but by HBO. (The network will also broadcast another film at Cannes playing out of competition, Stephen Frears' documentary "Muhammad Ali's Greatest Fight.")

David Fincher's entry to television with the political thriller "House of Cards" for Netflix sent reverberations through the business, partly because Fincher is such a widely respected filmmaker.

But talent is increasingly flocking to TV because of acclaimed shows like "Mad Men," "Downton Abbey," "Girls," "Breaking Bad" and many others. The medium allows for more novelistic storytelling and, often, greater exposure.

"It's nice for actors because more people see it," said Kristin Scott Thomas, who stars in "Only God Forgives." "You can spend weeks and weeks and weeks making a film that very few people will see, and that's sort of dispiriting."

"It's very satisfying when millions see something," she added. "It's as simple as that."

Not everyone, though, endorsed TV at Cannes. The 87-year-old Jerry Lewis barked: "Never watch television, if you can help it." Henri Behar, the moderator of Lewis' press conference, noted that that was an appropriate sentiment at a film festival.

___

Follow AP Entertainment Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

While the first three seasons are obviously full of humorous moments, there's also some pretty good political advice hidden in the hilarity...

Earlier this week, Matchbox Twenty frontman Rob Thomas tweeted that anyone who gives Rimes a hard time should be "embarrassed." Then on Thursday, Love chimed in and defended Rimes against the haters with a no-so-subtle tweet.

@thisisrobthomas @leannrimes send the trouble makers to me, I eat that shit for breakfast. Leanns my girl,u fuck with her you fuck with me!

— Courtney Love Cobain (@Courtney) May 23, 2013

The country singer responded, saying she loves them both.

It is unclear if either Love or Thomas has any idea that Rimes has an ongoing feud with reality TV star Brandi Glanville. The feud between Rimes and Glanville reignited on Mother's Day and sizzled Monday when Glanville told Rimes to "mind her own business" when it comes to issues involving Glanville's ex-husband, Eddie Cibrian, and their children, E! News notes.

In an apparent attempt to rise above the drama, Rimes tweeted Monday that she is over the pettiness (which may have been why Thomas offered his support in the first place).

Name calling and twitter rants are so 2012. Music and truth is so 2013. #spitfirejune4

— LeAnn Rimes Cibrian (@leannrimes) May 23, 2013

Tension between the "Real Housewives of Beverly Hills" star and Rimes developed back in 2009 when Rimes and Cibrian (Glanville's husband at the time) had an affair. To this day, Rimes insists she is sorry for how the affair played out.

"I've definitely asked for forgiveness on a daily basis," the 30-year-old told "Entertainment Tonight" Wednesday. "We are human beings who are going to sin and make mistakes, and if you have that connection, for me, is something that I feel is bigger than me, it's not something that's unusual to do."

"I feel like so many people have written the story that they think will sell a magazine," she added, "or the story that they want to believe, but it's so 180 of what has been written."

Mariah was wearing a shimmering Versace gown on stage when... well, we'll let Mariah explain it herself:

Mariah: "Oh shoot, now the back of my dress just popped."

Lara: "It popped?" [Checks Mariah's back.]

Mariah: "It popped! I love you, Donatella, but it popped, darling. Wait a minute, hold on..."

Lara, to the crowd: "How psyched are you guys to see Mariah, dress or no dress?"

Mariah: "You know, I just wanted to change the ensemble. It's just that..." [Turns to show the crowd her back.] "This pop, is it gonna fall?" [Stagehand goes to fix her dress.] "OK, both of them are out now."

Lara: "I'm gonna hold this right there!" [Grabs at Mariah's chest.] "This is live TV..."

Mariah: "What should we call this? The Central Park Saga?"

Lara: "I dare say this is a TV moment."

We dare say it was. Check out the incident in the hilarious video below. Also, we nominate Lara to be the first exclusive wardrobe malfunction reporter. She would totally own this beat.

WATCH:

At least these weren't caught on TV:

Want more? Be sure to check out HuffPost Style on Twitter, Facebook, Tumblr, Pinterest and Instagram at @HuffPostStyle.

Vulture reports that Jennifer Hudson's deal to become an "American Idol" judge is "essentially done," while a source told The Wrap that "she got the offer and her reps are currently negotiating with [the show's production company] Fremantle."

Season 12 judges Nicki Minaj and Randy Jackson are already out for next season, and The Wrap previously reported that remaining newbie judges Mariah Carey and Keith Urban are leaving the panel as well.

If Hudson -- who was a contestant on Season 3 of "Idol" -- does take Fox up on their reported offer, her choice will be an interesting one. In January, she said it was time for "Idol" to come to an end, noting "everything has its time." "I'm proud to have come from 'American Idol,' so I just say, go out on top," Hudson added.

Earlier this week, Vulture reported that Hudson and Season 1 winner Kelly Clarkson had already been approached judging Season 13 of "American Idol," while Adam Lambert and Clay Aiken's names were both in the mix. But don't expect to see Clarkson on the panel next year: A rep for the former champ told The Hollywood Reporter that she will not be judging Season 13.

Would you want to see an "Idol" alumni panel? Sound off in the comments.

The fantasy drama has been an unqualified success for HBO, but even as it's entering the home stretch of its third season, not everybody is on board the Westerosi train. Take, for example, this Thrillist writer who insists that women hate Game of Thrones. Crazy as Mad King Aerys, right? Her points are so ridiculous, we're tempted to think this is supposed to be satire, except it's neither clever nor funny. Of course, this far more eloquent and learned New York Times writer offers a similar argument in her review of Game of Thrones when it first debuted.

"Game of Thrones" is taking the week off -- Steven Soderbergh's excellent Liberace movie "Behind the Candelabra" airs instead -- but our love for the show doesn't take vacations, am I right?

So here's a very small attempt to fill that gap with an assessment of Season 3. I've rated 13 different aspects of this season thus far in the slideshow below, but I've also got a few general ideas about how the third year of the drama has unfolded.

The biggest difference between this season and the previous one is that each episode is longer, and the extra minutes have helped tremendously. There isn't time to delve into every single notable character's journey in depth, but the lives of most major players feel deeper and richer thanks to the extra screen time, and many of the minor figures have gotten a showcase scene or two. Everything from locations to characterizations to relationships feels more textured and dense this year, but that doesn't mean it's heavier. If anything, it's been able to incorporate a wider variety of tones, from drawing-room comedy to hushed mysticism to spectacular adventure. "Game of Thrones" has had a chance to stretch out and breathe this year, and it is much better for it.

Amongst the Lannisters and the Tyrells, we've gotten long conversations, brief but illustrative vignettes and perceptive character moments that made it possible to feel these people's anguish, curiosity, amusement and frustration. We saw Daenerys grow into her power, possibly growing reckless in the process, but what a thrill it has been to see her take the condescension of her enemies and use it to her advantage. The show's gotten its share of knocks in the past for sexposition, but that's pretty much a thing of the past, and at this stage, it should start getting credit for the feminist subtext of the stories of Arya, Dany, Brienne and even Shae. These flawed, complicated women refuse to be pawns in the great games played by the powerful clans of Westeros, and woe to anyone who underestimates their tenacity, strength and intelligence.

Some storylines are more cramped -- many events north of the Wall feel a bit rushed, Bran scenes are barely more than placeholders, and Theon's storyline is disastrously repetitive -- but in the main, the show's writers, directors and cast have done an excellent job of distilling and exploring themes about power, status, love and conflicting loyalty. As others have noted, the most recent episode, "Second Sons," benefited from remaining, for the most part, in three locations; this is a show that gathers power as it heads into the home stretch of every season and winnows the number of places it goes. "Second Sons" may not have had the sheer firepower of the single-location "Blackwater," but a sense of mournful inevitability united the entire hour. And that may be Season 3's finest accomplishment: The show has consistently found visual and thematic strategies that make some hours -- or long stretches of individual episodes -- feel unified and focused.

This could have been the season that broke the show -- as I pointed out in my review of the first four episodes, the Season 3 press release from HBO had more than 50 actors' names on it. The multiplying and intersecting storylines could have made for mass confusion, but the show has, for the most part, elegantly refined its vision and honed its portrayals of key characters. Executive producers David Benioff and D.B. Weiss have had to cut and rearrange some material, and I feel for fans whose favorite themes or characters have been dialed down or eliminated. But "Game of Thrones" was always going to have to condense the dozens of ideas and themes in author George R.R. Martin's books. HBO has Lannister-like wealth, but the series can't do everything the books did, or Maisie Williams would be 30 before the TV show arrived at Book 5.

This version of the tale has lush visuals, terrific acting, great set pieces (the bear!) and sly wit. It clearly takes an army of dedicated people on several continents to make a show this good, but "Game of Thrones'" directors should be singled out for creating a world that is both expansive in visuals and intimate in mood. When a show can make Wall-climbing, a middle-aged man learning to read, a bear fight, a painful confession, a farcical wedding and the slaughter of a city of slavers all hang together, visually and tonally, it's doing something right.

Making all these characters and places come alive is a Herculean task, but "Game of Thrones" has always needed even more than aesthetic virtuosity and a graceful ability to make the heavy lifting of servicing a dozen stories not feel so heavy. For it to work, what it always needed was hard-won wisdom about the surprising nooks and crannies of human nature, and a deep well of compassion for the outsiders, rebels, misfits and other outliers who populate this tale. Season 3 hasn't been perfect, but "Game of Thrones" has excelled in those arenas, and even though this year's run isn't over, I'm already looking forward to Season 4.

Before we get to the slideshow, here's an explanation of the rating system for "Game of Thrones'" Season 3 storylines:

• Four dragons: Reserved for my favorite Season 3 storyline.
• Three dragons: The actors are getting meaty material and making the most of it; these are the storylines with the most depth, heft and emotionally involving consequences.
• Two dragons: There are good moments and scenes, and not much to take issue with, but I'm not overly engrossed -- just normally engrossed.
• One dragon: It's holding my interest, just about, but the storyline is something of a placeholder.
• Zero dragons: Reserved for one storyline. I wonder if you can guess which one it is.

Dr. Phil says that if you're looking to change your life, you should start by doing a self-assessment. In this clip from "Oprah's Lifeclass," he explains how to do this by asking yourself three key questions -- and not just asking them, but actually writing down your answers so you can add to it and edit it to truly get to the heart of the matter.

"There [are] three things that I would love for you to ask yourself," Dr. Phil says before revealing the first question. "What is it you're doing that's working?"

Whether it's your marriage, your efforts to maintain a relationship with your child or your spiritual practices, all that matters is that you are honest with yourself when exploring your answers. Explains Dr. Phil, "Winners deal with the truth."

Being truthful especially comes into play for the second question you must ask yourself. "The second part is, what do you need to stop doing that's getting in the way of what you want?" Dr. Phil poses.

For the final piece of this self-assessment, he says you must explore the question: "What do I need to start doing that will empower me to move forward?"

Asking yourself these three key questions and answering them honestly will have a dramatic impact. "This will change the way you look at your life," Dr. Phil says.

"Oprah's Lifeclass" airs on OWN, the Oprah Winfrey Network.

Viewers were left wondering what would become of Brody following the cataclysmic events of the Series 2 finale, which saw the soldier-turned-terrorist on the run for an attack he claims he didn't commit. We also watched as his lover Carrie eventually chose to leave his side, and return to her job at the CIA - that of hunting down the world's most wanted terrorist, ie, Brody - even as the firewood in their remote log cabin was still cooling.

Brody is now friendless, wifeless and the world's authorities looking for him - but does he have a future?

So Brody is a hunted man, with his confession video (for an earlier crime he couldn't actually bring himself to commit) playing on every street corner, but actor Damian Lewis this week hinted this cat-and-mouse game couldn't go on for ever...

"I think Homeland can go on forever. Whether Brody can go on forever is a different matter," he told reporters in Cannes, remarkably sanguine about a role that has brought him household familiarity in the States, and a clutch of awards, including an Emmy and a Golden Globe.

"We'll just play each season as it comes. Writers write themselves into interesting positions, sometimes not wholly expected positions. So it's a continuing surprise for everybody."

With or without Brody, does Lewis think Homeland can continue indefinitely? "I know they won't flog it," he said. "I think once it stops being interesting, they'll leave it alone."

Talking of interesting versus tired, Lewis also spoke to Digital Spy a while ago, when he mused on the prospect of Brody and Carrie ever actually settling down together...

"I think Brody and Carrie are over. I think it's over. I don't think those two can be together - can you imagine them being married and bringing up kids? It wouldn't last long."

Which lends weighty support to some HuffPostUK musings on the very same topic as Season 2 drew to a close...

With Saul looking out for you, why would you opt to go on the road with a suspected international terrorist? "We could be happy," said Brody. But how? Without his enigmatic potential for evil, her paranoia, his wife, her demons, what WOULD they have to talk about? There are only so many croissants you can eat, and brown paper bags to carry out to the lake.

Damian Lewis in Cannes, beaming in a very un-Brody-like way

What do we know about Series 3? Well, we've got the official synopsis from US showmakers Showtime, thus:

Homeland' Season 3 opens during the aftermath of the horrific terror attack that decimated the U.S. intelligence apparatus, and prompted a global manhunt for the world's most wanted terrorist -- Nick Brody (Damian Lewis). As Carrie (Claire Danes) and Saul (Mandy Patinkin) begin to pick up the pieces of their shattered professional and personal lives, they are swept up in the political and media firestorm surrounding the terror attack and the subsequent search for Brody's whereabouts.

Which, let's face it, we probably could have taken an educated guess at. The rest will seemingly have to wait.

Meanwhile, Lewis is in Cannes to talk up a new film he's about to make with 'W.E' and 'Oblivion' star Andrea Riseborough. This one's called 'The Silent Storm', described as "a poetic romantic drama" set in a Scottish highland community. Bit different from 'Homeland', by the sounds of things.

'Homeland' is back on our screens at the end of September, but where can it go? Your thoughts, please...

Though she used to guest anchor the evening news program regularly while she co-hosted "Today," Curry has not stepped back into the role since she was abruptly fired from the morning show that employed her for more than a decade. Curry anchored stories ranging from the devastating tornado in Moore, Oklahoma, to President Obama's impassioned speech about his national security policies to the brutal killing of a British soldier in broad daylight.

Curry was in the press on Thursday for reportedly failing to get an interview with Angelina Jolie after the actress revealed that she underwent a preventive double mastectomy. When Curry was fired from "Today," Jolie reportedly made it clear that she would only sit down for an interview with the network if it was done by the former "Today" co-host.

In addition to anchoring specials during major breaking stories such as the mass shooting in Aurora, Colo., guest-hosting "Nightly" was one of the more visible gigs Curry landed at NBC since leaving "Today."

Conservative media has made a lot of noise about Jon criticizing Obama in the wake of ScandalGate. But on Thursday, even as Jon turned up the heat, it began to seem as though this is all culminating in a tough-love, you can and should be better than this message.

Watch Jon lay out how the administration has gotten its priorities completely confused in part one above and part two below, and let us know if you agree with his assessment.