“Jimmy’s humor is sophisticated and edgy while appealing to a wide audience,” said Reuters journalist Caren Bohan, president of the White House Correspondents’ Association. “We are thrilled that Jimmy has accepted our invitation to be the featured comedian at our annual dinner.”

Read the full story here.

Will Jimmy Kimmel Man Up for Moms too?

Hours after this performance, the news about Bin-Laden’s death was released, which gave Meyers great material for his Saturday Night Live skit Weekend Update. Check out the clip below:

As politicos, Hollywood celebrities and media personalities converge on DC this weekend, many show up for a cause.  The Creative Coalition has had a long tradition of showing up with a force and enlisting some of DC’s biggest names.  The Washington Post’s Sally Quinn and the Honorable Bob Dole will join America Ferrera, Michelle Tratchtenberg, Jeremy Piven, David Arquette, Cheryl Hines, Alyssa Milano, and the Coalition’s President, Tim Daly in an event Friday night at The Washington Club to start an important initiative.   This year, along with WWE (R), they will launch the “be a STAR” anti-bullying campaign.  STAR stands for “Show Tolerance And Respect” and “aims to ensure a positive and equitable social environment for everyone regardless of age, race, religion or sexual orientation. “be a STAR” also will employ the resources of the arts to promote anti-bullying messages,” according to their press release.

The “be a STAR” Alliance includes GLAAD, Ad Council, Island Def Jam Music Group, Close Up Foundation and others leaders in the education and community service arenas.

For its first initiative, the Alliance will unveil an anti-bullying curriculum created by the National Education Association Health Information Network and distributed free-of-charge to the nation’s schools. The centerpiece of the curriculum is the recently released film, That’s What I Am (WWE Studios and Samuel Goldwyn Films).

ABC News' George Stephanopoulos and Alexandra Wentworth at CURE Epilepsy NYC 2010 Event

There will be plenty of laughs and camera flashes over at ABC News’ tables at the annual White House Correspondents’ dinner. “Modern Family” favorites Eric Stonestreet and Jesse Tyler Ferguson will be joined by “Glee’s” Jane Lynch, actor Paul Rudd from “40 Year Old Virgin” and “Anchorman,” and actor/new mom Elizabeth Banks seen recently on “30 Rock.” ESPN’s Erin Andrews will also be at the main event.

Top management will be in town, including Disney President & CEO Bob Iger who will be joined by wife Willow Bay, Disney-ABC Television Group President Anne Sweeney, ABC News President Ben Sherwood, and ABC Vice President and Washington Bureau Chief Robin Sproul.

Returning to DC for the weekend will be George Stephanopoulos and wife Alexandra Wentworth. They’ll get to catch up with senior correspondents Martha Raddatz, Jake Tapper, Terry Moran, and Jonathan Karl. Rounding out the team will be Political Director Amy Walter and Senior Washington Editor Rick Klein.

ABC will be bringing plenty of political star power as well. Guests include:
White House Chief of Staff William Daley & Bernie Daley
Tom Donilon (National Security Advisor to the President) & Cathy Russell (Chief of Staff to Jill Biden)
White House Social Secretary Jeremy Bernard
Senator Marco Rubio & Jeanette Rubio
Attorney General Eric Holder & Dr. Sharon Malone
Admiral Mike Mullen & Deborah Mullen
Senator Amy Klobuchar & John Bessler
Secretary of the Department of Homeland Security Janet Napolitano
Elizabeth Sherwood-Randall (National Security Council) & Dr. Jeffrey Randall
Ambassador Salem Al-Sabah & Rima Al-Sabah
Former Secretary of Commerce and new US Ambassador to China Gary Locke & Mona Locke
Senator Mark Kirk
Amy Rule, wife of Chicago Mayor-elect Rahm Emanuel

Tammy Haddad interviewed at the 2010 White House Correspondents Garden Brunch.

Confused as to why everyone around the Beltway aren’t complaining about why it’s almost 100 degrees? Because they’re going over Politico’s 50 Politicos To Watch.

As Bill Nichols explains, “we bring you a snapshot of the politicians, bureaucrats, administration officials, campaign gurus, military brass, fixers and party hounds you need to keep an eye on in the weeks and months ahead.” Among other influential D.C. staples are the restaurants and bars that run the town’s after-hour salons.

Of course, in a point of full disclosure: White House Correspondents Insider’s own co-founder and editor-in-chief Tammy Haddad is one of Politico’s Scenemakers to Watch.

Michael Getler, the independent internal critic, otherwise known as the “ombudsman” for the Public Broadcasting System, believes that it has. In a recent Ombudsman Column, Getler calls the dinner an “embarrassment, just one more brick on the pile that buries confidence in the U.S. press.” The dinner happened to take place on the same weekend that marked the passing of two long-time PBS public affairs shows: Bill Moyers Journal and NOW with host David Brancaccio.

Getler called it “Journalism’s Passing Parade” – do you agree? Share your comments.

Guest mixologist Rachel Maddow serves David and Susan Axelrod

WHCInsider has the exclusive news: Party powerhouse MSNBC, coming off an already legendary 2009 Radio and TV Dinner after party, is taking on the Bloomberg | Vanity Fair juggernaut in 2010 for the White House Correspondents Dinner on Saturday, May 1.

The White House Correspondents weekend is a time for the networks and their print counterparts to entertain their clients, show celebrity muscle, and bring Washington elites together. There is no more competitive time slot that weekend than the Saturday after party sweepstakes, dominated for years by Bloomberg.

Jason Binn’s Capitol File magazine began their own after party in 2008 to much success. With a breathtaking cover featuring new D.C. residents—Obama’s Valerie Jarrett and Desiree Rogers—Binn gathered top politicos in 2009, after hitting the dance floor in 2008.

MSNBC, which has enjoyed much ratings success and made itself a primary player in the Washington political media culture, will give everyone a run for their money this year.

MSNBC’s party will be created by top event producer, Philip Dufour, mastermind of the Radio and Television after party. If you are one of the lucky few to receive an invitation, we’ll see you at the Mellon auditorium.

MSNBC President Phil Griffin and MSNBC Star Ed Schultz

WHCInsider already reported that The New Yorker has put their marker on the pre-party calendar with a rooftop reception at the W Hotel.

Washington media members cheered the news of new competition for high profile guests on a night traditionally “owned” by Time and People magazines. Bloomberg is the undisputed king of the after party on Saturday (and hosts a private dinner at Café Milano pre-WHCD). Will Time Warner challenge Conde Nast? We’ll investigate, but in the meantime, give us your tips on party plans and guest lists as they develop.

In the meantime, check out some photos from last year’s pre-dinner receptions.

NBC News VP Mark Lukasiewicz briefs camera crews during a pre-production meeting in the Old Executive Office Building on Thursday, May 28.

Mark Lukasiewicz (a.k.a. “Luk”) was the Executive Producer behind one of NBC’s most revealing portraits: “Inside the Obama White House, Brian Williams Reports.” WHC Insider reported Luk’s production plan to create the most personal look yet at the White House and this President. Today, we go behind the scenes with Luk as he tells us how they got the “get of the year.”

Linda Rozett:  How long did it take to get the administration to agree to appear under this sort of microscope? How did you convince them to cooperate?

Mark Lukasiewicz:  We began that conversation very early with Robert Gibbs and other Obama advisers. The conversations got more serious in February, and then got even more serious after the White House Correspondents Dinner in May. NBC has done this kind of show with virtually every administration since Nixon; it’s a very long tradition. President Ford was the only exception, since he wasn’t in office long enough. It’s been our practice to approach each new administration to participate, because it’s an opportunity to introduce the nation to them and how they work.

After that, we had a number of meetings on the details: the number of people involved, equipment to be moved in, where we would have cameras, and work space. We had a space in the Old Executive Office Building. Finally it became a matter of finding a date that worked.

From the outset I had the strong impression it really was only a matter of when, not if. The White House understood the value of this project in terms of introducing this administration to the country, to their key players. I didn’t sense any hesitation on their part.

Were there any restrictions on what you could shoot (rooms off limits, security, etc.)?

There were conversations with the Secret Service to make sure we weren’t doing anything inadvertently to compromise the President’s protection. And there were definitely areas we would have been happy to shoot, but were told no. Not the residence floors of the White House where the Obamas live. Not the Situation Room, for example, and limited opportunity to shoot in the areas occupied by the National Security people.

But the restrictions were really minimal in terms of where we could shoot; and almost all of them had to do with security.

How about the staff — any restrictions there?

No.  But there were some logistical issues — making sure we could carve time out of the day to have access to the key players.  Once we had agreement, we needed to make sure Brian Williams could stop in on certain people, that they’d have a free 15 to 20 minutes on their calendar.

How did you set this up? With crews following people around?

I produced our last “Inside the White House” special in 2002 with the Bush administration, and I learned than just how small the West Wing is.  It’s pretty tight and pretty crowded; narrow hallways, small offices. Having camera crews on the move through that space all day long would be too difficult. So we set it up as a zone system: cameras and crews in different areas were responsible for shooting what went on that area. So, if Larry Summers moved, we didn’t have a crew chasing him. The crew in his office area saw him leave and the crew in the Oval Office picked him up arriving.

The only exception: a crew moved with Brian Williams everywhere he went. So any time Brian Williams arrived somewhere, I had two cameras on that area; the one with Brian and the one that was geographically assigned to that area.

In 2002, I had actually created a floor plan of the White House to map this out.  That special was shot in the aftermath of 9/11 … and there was tremendous sensitivity about a floor plan showing the interior of the West Wing. I couldn’t get one from an official source, so I basically sketched a map of the West Wing floors to get where crews could be and what they’d be covering.

South Portico, L to R: Lighting Director JoAnne Fyanes, NBC News VP Mark Lukasiewicz, Director Jim Gaines, Technical Director Leonard Venezia – courtesy Antoine Sanfuentes

For the Obama program, we began setting up our workspace on Wednesday, May 27. We moved equipment in on Thursday the 28th. We had a production meeting for the crews Thursday afternoon in the Old Executive Office Building, and met with all the producers on Thursday evening. The call time, our arrival time, was 5:00 a.m. Friday, May 29, for everybody to be at the White House. We kept the Secret Service busy at the gates with all our crew arriving, but we got set up in enough time to get shots of the staff arriving and turning on the lights.

The last crews stopped shooting around 9:00 p.m. on Friday.

Where were you stationed, outside the Oval Office?

I was in our workspace in the Old Executive Office Building.

You spent whole day in OEOB?

No, I went over to the West Wing a couple of times, like when we interviewed the President, but basically I was mostly in the OEOB where I could be in contact with all the producers and crews and monitor what was going on.  Whenever a tape was finished shooting, it was popped out and brought over to OEOB, to be tagged, identified and labeled. As they came back, I sampled the tapes, so we knew exactly what was there. Every few hours, a courier departed with the tapes to New York to be ingested into our Avid system and logged for the producers and editors to work with.

How many people, crews, cameras, were there at any one time?

In the West Wing, easily 35 to 40 people at one time. Every beta camera crew — there were 16 of them, with two-thirds located in the West Wing — included a camera, plus a sound engineer, a producer and an associate producer. Certain parts of the West Wing are notoriously dimly lit, so overnight on Thursday we were allowed to put up a minimal amount of lights, including in the Oval Office and the outer Oval.

NBC News VP Mark Lukasiewicz (second from right) huddles with producer Meaghan Rady, Senior Producer Subrata De and NBC News Washington Bureau Chief Mark Whitaker in NBC's workspace in the old EOB during the filming of "Inside the Obama White House" – courtesy Antoine Sanfuentes

How did you pull your team together?

It was definitely a handpicked team.  We combined people from all over NBC, virtually every program unit and geographically from different parts of the country. I was looking for a mix of people who had experience doing it before, who had done the last “Inside the White House” project, as well as producers who were able to shoot their own video and who had different sensibilities.  We had White House veterans, but also people who were new to the White House, who would be able to see everything with fresh eyes. .  And we had a lot of producers from our long-form unit, Dateline, who were skilled storytellers and could help craft this special in the short amount of time we had to get it done.

One of the real challenges is you get all of this material on Friday and you have to put into a prime time project by Tuesday. Remember, we finished shooting at 9pm on Friday and it was on the air at 9pm on Tuesday, just four days later.  To get it done, we basically took over the editing infrastructure of Dateline in New York.  We had 12 edit rooms cranking off a single Avid server. It’s a complex process. Tapes were hand-carried by a series of couriers back to New York, where they were immediately pulled into digitizing and logging.  There was a special coding and tagging system set up so that every frame of usable video would be logged and digitized, and available to all the producers and editors.

Any mishaps; cameras go down, lights fail?

No, we were very lucky. The rain gave us some issues; and at one point we had to shut down our outside crew because we were worried about the risk of electrocution

It was interesting to me that in the past, we’ve used radios and I had a set of two-way radios with every team again this time. But this time we didn’t use them very much; we ended up using essentially text messages. Every producer has a BlackBerry or a smart phone. We had a common, shared e-mail group address that anyone could use to broadcast to everyone else on the team. So anytime I needed to say something to all the crews I could broadcast a message to everyone. Early in the day, for example, I could see on the tapes coming back that some of the teams were getting into each others shots too much and I sent a message about being careful about that. Producers upstairs could alert crews downstairs that someone was coming down. It turned into literally hundreds of messages that kept everybody in tune with what was going on — or if the President’s schedule was slipping a bit.

It really worked. At the end of project, we assembled 14 single-spaced pages of those messages. The first one was at 6:48 a.m. and the last one was at 8:07 p.m. They provided an accurate time line of the day, and we used them to find certain events, and shots, that we wanted to use.

That’s a big job, managing such a large team and a big project.

I’m very lucky in that I often get the call from Steve Capus or Phil Griffin to help put together unique projects like this.  Going back to our 9/11 coverage and the Iraq war, I’ve had the opportunity to assemble these teams of great producers and editors for short-term projects

And frankly, NBC News is uniquely capable of doing these big organization projects, because we have the horses, both in broadcast and cable and online.  And it’s always a thrill to watch a team come together — often people who haven’t worked together and maybe even haven’t met before — and see them operate like a well-oiled machine, attacking a project like this one.  We used people from across the organization and it came together in a great collaborative project. This team was truly extraordinary … and projects like this – intense collaborative team efforts – are exactly why I got into TV in the first place.