“After most of the reserved seats had been occupied, the general admissions crowd overflowed into the theater. This set off a mild class conflict between those aristocrats who had paid as much as six dollars for tickets and the two-fifty-a-head proles who now filled the aisles, stood in front of the stage, and wandered through the rows obstructing the view and appropriating latecomers’ empty seats.”—Ellen Willis on a 1971 Who concert in Out Of The Vinyl Deeps.
It’s 1:11 PM. That’s the early afternoon. Chapel congratulates himself for “another night, another love.” He uses the colloquial phrase “M’MAN” to show that sex with broads is no big d. So even though it’s just past noon and he’s “ABOVEGROUND,” he’s saying it’s nighttime and his room is completely dark with a bunch of nighttime shadows on the wall.
The Youngblood communicator thing goes “eepBeep,” a sound no-one has heard or capitalized in that fashion anywhere ever, and he tells her to wake up (at 1:11 PM, again, above ground, where the sun should be). She asks him for five more minutes of sleep, and he responds with NO PROMISES YOU KNOW THE WAY OUT. If she had said “ooh baby i’ll be here when you get back” or “when can i see you again” it would’ve set her up as in awe of Chapel’s manhood (which is what Rob’s going for, I think), and the response would’ve shown Chapel as a hard womanizer who values his life as a soldier more than any woman he might take to bed. But she asks him for five minutes of sleep, so when he responds like that it makes him deaf, or some weird taskmaster of the alarm clock.
I don’t think he’s sleeping, though, because he’s got his arms behind his head like he just finished up or is in a hammock, and depending on how long they’ve been there she’s been sleeping with her face in his giant hairless armpit.
“My wife was going through breast cancer at the time [of the first Hangover], so doing Chow was very cathartic. I jumped out of the car naked, and it was completely my idea, and it was very cathartic. The whole point of Chow to me was to go for it. Life is short. Don’t worry about what anyone else thinks. There is a lot of this that’s a love letter to my wife. I’ve never told anyone this, but in the first movie when I’m releasing Black Doug, I say “Cachik!” It means “chicken die” in Vietnamese. And then I say “Camong!” which is Vietnamese for “thank you.” There are a lot of jokes that I was deliberately doing to make my wife laugh while she was recovering from chemo. A lot of people don’t realize what a hard time I was going through. It was my wife that insisted I do The Hangover. When you ask why I do Chow the way I do, it’s because life is short and you have to go for it.”—Ken Jeong in Vulture. Am I going to cry the next time I see his part in The Hangover? I might cry.
Reasons I Find My Wife's Apprecation For Eli Roth Annoying
She just likes to look at him. She won’t actually watch anything he’s directed, despite every one of his movies being ultra awesome.
It reminds me that he’s only directed three movies over the last decade, instead showing up in bit parts of more prolific directors’ movies, and talking smack about intriguing projects that never come to fruition. Is he smoking trees with QT for months on end? He deserves better than just being in that guy’s entourage.
Roth is 39 and still looks like some bright-eyed Hollywood wunderkind. Grow a beard, dude!
It’s enough to make me hope his middle-aged-and-strapping look turns roided and creepy before too long.
“My partners and I are sorry to lose this much vodka to theft and do not condone criminal activity in any fashion, but we are happy that some consumers will be afforded the opportunity of tasting it at significantly lower than retail price.”—Dan Aykroyd, on the theft of 21,000 bottles of Crystal Head Vodka from a California warehouse. Badass.
Just When You Think You Know Everything About Obscure Flops
…the obscure ’80s Donald Sutherland flop you DVR’ed on a whim turns out to be an obscure ’80s Donald Sutherland flop based on Big Deal On Madonna Street, co-starring a young Sean Penn, Christine Baranski, Wallace Shawn and Jack Warden, directed by Louis Malle and featuring an original theme song by Michael McDonald.
I mean, yeah, I never heard of Crackers because it sucks, flopped and never came out on DVD, but I’m a little embarrassed I had no idea Louis Malle tried to make an hip, urban ’80s comedy complete with synth score after Pretty Baby, Atlantic City and My Dinner With Andre (and before the hip, urban Jonathan Demme films that make a viewer retroactively wish Demme directed this). I really, really, should have been aware of this movie, and I am humbled by my ignorance.
“After [Prince] reassured Armisen ‘It’s cool’ that Fred portrays him as a crazy-eyed sex dervish, Armisen found himself making small-talk with the artist in the corner of a private party. “It was really not fancy. Just a buffet and a D.J. He was sitting alone at a table and eating macaroni and cheese, and I went up to him and sort of was like, ‘I think you’re the greatest.’ And I did it in the way that people say things when they want to hear a compliment back,” Armisen explained. “And he turns to me and goes, ‘You know what else is the greatest? This macaroni and cheese.’”—
Prince is a macaroni and cheese enthusiast, Dan Harmon worries that he’s inconveniencing other people when standing with friends on the sidewalk. I’m just going to assume that my most embarrassing traits are signs of genius from now on.