Clue 1

as to what this blog title means.

I'm a fiend for this and can't get enough. Call me and i'll answer.

http://www.thrfeed.com/2009/07/lost-panel-live-blog.html

Life is Tweet

This gives me a good chance to plug my twitter. Check me out.

Remember this guy?

I think it may be time to forgive.

Apology

ABCs

My one thought on the Emmy nods

Im sure you've heard about the 22 nominations, but check this category out real quick...simply impresive



Outstanding Writing for a Comedy Series

30 Rock
"Reunion"
NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Matt Hubbard, Writer


30 Rock
"Apollo, Apollo"
• NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Robert Carlock, Writer


30 Rock
"Mamma Mia"
• NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Ron Weiner, Writer

30 Rock
"Kidney Now!"
• NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studios
Jack Burditt, Writer
Robert Carlock, Writer

Flight Of The Conchords
"Prime Minister"
• HBO • Dakota Pictures and Comedy Arts in association with HBO Entertainment
James Bobin, Writer
Jemaine Clement, Writer
Bret McKenzie, Writer

I swear

I know nothing about this show (lying, I know more than I put on) but heres someting for those who do

http://www.avclub.com/articles/possible-project-runway-catchphrases,30191/

Ich is amused

Had to see it...


Sacha Baron Cohen revels in the uncomfortable. The only hang up being that his latest character, Austrian TV reporter Bruno, sometimes puts the audience in the same position as the unknowing victims he humiliates.
Whereas 2006’s “Borat” had Cohen exploiting common conceptions of American views on foreigners, he tackles the gay community in “Bruno” using both nudity and questioning to make everyone he encounters uncomfortable in some degree or another.
He’s outrageous, unbelievable, and daring. But those are the qualities that make all of Cohen’s characters successful. He’s so completely immersed in a role that it ceases to be a role at all.
So when Cohen plays the gay fashion obsessed Bruno, there’s no holding back. Seeing the not-so square peg try to fit into boot camp, or hunting trips is hilarity in discomfort. But when situations get graphic, and they often do, there’s a discomfort for the audience to have as well. When he one ups himself in terms of nudity again and again, there’s wonder what sort of movie Cohen could have made without having to cater to ratings officials. The R rated movie he did make often times nothing short of pornography, granted there’s a certain situational humor to it, but not everyone has the same taste for the tasteless.
But the scenes that are for everyone are the situations Cohen builds that define irony. When he turns a MMA event into something completely different or an interview with Paula Abdul into a lesson on hypocrisy, the audience can find hilarity in the “jokes-on-you” subtlety that Cohen does best.
Mix that with a dash of shock-value, and it’s quite clear Cohen strikes again, with poignant accuracy. If you can stomach some uncomfortable encounters with the Bruno and his lifestyle, then the ones he has with the rest of the world are worthwhile windows into Cohen’s genius.

dessert

RW: Cancun

On a scale from 1 to 10, the pettiness of the drama on The Real World is 15, and the bitchiness is 12. Every time there's a behind the back shit talking session or one of the girls says "Seriously dude," I can't help but see RW/RR challenge stars in the making.

Slippin

I know I've been slippin with the daily post thing. I could say this, but I wont. Instead I'll offer you this query, How long until we go a day without hearing about Michael Jackson? I'm all for celebrating his life and mourning his death, but you know conversation about his estate, his children, why he did the things he did is all going to continue for weeks. And this is my optimistic underestimation. It could be three weeks, three months, three years, I really see them all as possibilities. Of course the downside is we'll all reach a point of ambivalence and apathy where the news is just repetitive. When that comes for you, I can't say. But I'm approaching it pretty quickly.

For the first time all season...

I'll be watching tonight's episode on Tv when it airs and not online. What does everyone think of the new season? It's pretty wacky, but I like Andy's subplot

As is usually the case when I give myself a deadline, I got lazy and preoccupied and failed to meet it. Here's my review, enjoy

Nothing says historical cinematic recreation like a mobster everyone can root for.
Denzel Washington did it in 2007’s American Gangster,” and now Johnny Depp does his best in “Public Enemies” to portray bank robber John Dillinger — a cool as ice mobster who can deliver smooth wit about as quickly as he can pull a trigger.
“Public Enemies” starts right in the heart of the 1930’s, when the economy was at its lowest, and crime was at its highest. Enter John Dillinger (Johnny Depp), a suave bank robber whose daring heists and escapes from jail capture the attention and heart of the American public. But FBI head J. Edgar Hoover isn’t amused, and assigns Melvin Pervis (Christian Bale) to apprehend Dillinger and his cohorts.
The exciting part of “Public Enemies” lies in the recklessness in which Dillinger lives every day. Gun fights, sweeping women off their feet, fleeing to exotic cities; it’s all in a day’s work for Dillinger. But the problem is that all of these things provide no deeper insight into Dillinger the man. When he woos a woman at a club (Marion Cotillard) and is content to spend the rest of his life with her, his motives and reasoning are completely disregarded. Why he comes to such conclusions, or how they materialize so quickly is the film’s biggest let down — Dillinger seems to just do things, and the audience has to accept them, regardless of how asinine they be.
Depp is his usually stunner, while he plays the tragic hero with expertise. The bravado and arrogance of Dillinger exudes out of Depp’s every step, and riding shotgun to his capers is an exhilarating experience. But a biopic has to go deeper than gun powder and smooth talking, and “Public Enemies” rarely ever does. In its long 140 minutes, any insight to the psyche of one of America’s most intriguing figures is usually unexplored. Director Michael Mann shows all the flash in his life but rarely any substance, and that leaves the audience feeling a bit robbed themselves.

Just Saw PE...

And this story is a much needed compliment. My review of the film will be up either tonight or sometime tomorrow.

The Real Public Enemies