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In a direct response to the recent defunding of public media, John Oliver and his Emmy-winning show Last Week Tonight have initiated a one-of-a-kind auction to raise crucial funds for public broadcasting stations nationwide. The auction, dubbed “John Oliver’s Junk,” went live following Oliver’s final episode of 2025, which meticulously detailed the severe impact of eliminating $1.1 billion from the Corporation for Public Broadcasting (CPB).
The decision by the Trump Administration to cut CPB funding has left many radio and TV stations, particularly those in rural areas, in a precarious position. Oliver’s auction aims to provide a temporary lifeline through the Public Media Bridge Fund, which assists local broadcasters in securing new financial support.
A “Happy Little Accident” of an Auction
The inspiration for this unusual fundraising effort partly originated from the Bob Ross estate, which recently saw three of the late PBS icon’s original paintings fetch $662,000 in a separate auction to support public broadcasting. Now, Oliver’s “John Oliver’s Junk” features 65 eclectic items, including a prized 1987 Bob Ross painting, “Cabin at Sunset.” As of the announcement, this iconic piece was already attracting bids exceeding $51,000.
Oliver announced the auction during Sunday’s broadcast, confirming it would run until November 24th. “We’ve actually accumulated a bunch of weird artifacts on this show over the years that we could definitely auction off to raise some much needed money,” Oliver stated, underscoring the authenticity of this unique endeavor.
Treasures from the Last Week Tonight Vault
Fans of Last Week Tonight will recognize many of the peculiar artifacts up for grabs. These memorable items serve as comedic relics from the show’s past segments:
- Russell Crowe’s Jock Strap: Infamously worn by the actor in “Cinderella Man” and later acquired by Last Week Tonight during Crowe’s “Art of Divorce” auction.
- Mrs. Cabbage Oliver: John Oliver’s on-screen wife, who he “married” during a season 9 segment on AI-generated art, with Steve Buscemi officiating.
- Golden Adidas Sneakers: Promised by Oliver to be worn in a season 2 episode if scandal-ridden FIFA President Sepp Blatter stepped down.
- President Lyndon B. Johnson’s Balls Sculpture: A large, gold-plated recreation from a season 12 segment on presidential libraries.
- Five Wax Presidents of the United States: Another set of historical oddities from the show’s collection.
Beyond these quirky collectibles, the auction also offers once-in-a-lifetime experiences:
- A trip to New York to meet John Oliver himself.
- A case of “Cabernet SauvignJohn,” a wine years in the making by the show’s team.
- An opportunity to appear in a photo over Oliver’s shoulder during an episode, complete with two VIP tickets to a live taping.
Even Oliver’s “Community” co-star Joel McHale made an appearance, signing a DVD set of “Mr. Bean” episodes in a nod to his 1999 PBS pledge drive. This signed set is also available for bidding.
The Critical Importance of Public Broadcasting
Oliver dedicated a significant portion of Sunday’s episode to highlighting the dire situation facing public media. He stressed its innovative role in reaching underserved audiences, from inventing closed captioning in the 1970s to providing programming in Haitian, Creole, Navajo, and Vietnamese.
He challenged conservative criticisms of “liberal bias,” arguing that such claims often mask bigotry against factual reporting on issues like racism and the existence of LGBTQ+ individuals. Oliver also pointed out the irony: budget cuts will force local stations to rely more on national content from major urban centers, diminishing the vital local community programming that makes public media so invaluable.
Public radio and TV stations are often the sole sources of critical local investigative reporting, particularly in areas with limited broadband or cell service. They are essential during emergencies like hurricanes, distributing missing person alerts, and ensuring communities receive vital information.
Oliver underscored that the U.S. is a global outlier in its meager federal funding for public media, spending less than $1.60 per capita compared to nearly $100 or more in countries like Norway, Sweden, and the UK. Research, he noted, consistently shows a positive correlation between robust public media systems and the health of democracies.
While Oliver expressed a desire for a long-term, stable funding solution—perhaps a tax or licensing fee, as recommended since the CPB’s inception—he acknowledged the immediate crisis. Until such systemic changes occur, the “John Oliver’s Junk” auction serves as a crucial, albeit temporary, measure to support an indispensable public service.