Archive for the ‘Fatboy's Blog’ Category

Michael Bay tried to kill me with Baked Goods - Transformers: Revenge of the Fallen Review

Tuesday, June 23rd, 2009

I know that food metaphors are the province of lazy movie reviewers. Check the archives of every critic you’ve ever read, and start in their nascent period, before they achieved full-fledged professional asshole status – you’ll see at least 1 or 2 reviews built around the substitution of cinema for eating. It’s where clichés like “Eye Candy” or “Comfort Food” come from, from tired people numbed by pretty, mindless crap being poured into their eyeballs.

With that being said:

I used to be the kind of person who believed there was no such thing as “too much cake.” The concept was silly to a slovenly, melty person like myself. Tell Ron Jeremy there’s something like “too much sex.” Tell Stephen Hawking there’s something like “too much breakdancing.” “Preposterous!” they’ll say. “Ludacris Bridges!” Transformers: Revenge of the Fallen is 151 minutes of truth to that lie.

Around hour one, I was pretty satisfied with this sugary cinematic confection. But then another cake was placed in front of me. And another. And another. And Another. And I couldn’t scrape off the frosting, or pick off the roses made of icing. I had to eat every last cake.  Not piece of cake; Whole Cake. There was no milk to wash it down, no moisture of any kind to help ease the cake into my tummy.  It was shoved down my throat like a rifle butt was behind it. It was fast, angry cake, stacked up, undigested in my stomach like Donkey Kong girders. At some point, I actually forgot what cake tasted like as I gagged on yet another mouthful of icing and sugar.  Then the movie ended.

Criterion controversially added both The Rock and Armageddon to their collection in the 90’s. They explained by saying something like “These films perfectly capture a style of filmmaking that deserves to be represented and examined by those who appreciate film.” I want to say that Criterion can go ahead and replace those two with this, because Revenge is a movie that perfectly encapsulates everything that is Michael Bay. In a filmography that includes Bad Boys II and Pearl Harbor, this is Bay at his most masturbationally indulgent.

And yet, I won’t say that, partially because Criterion doesn’t give a s**t what I have to say (neither did the Rep working the lobby once he found out I was in radio,) but mostly because this isn’t really a Michael Bay movie. This is Michael Bay making a cinematic mixtape out of James Cameron’s filmography. Roger Ebert wrote that The Rock was a movie built out of other movies. Revenge of the Fallen is built out of the earnest grandiosity and sci-fi goofiness of The Abyss, the mean-spirited, often degrading sitcom vibe of True Lies, the posing, preening evil of Terminator 2 married to the technical brilliance and horribly sh**ty pacing of Titanic. And those are just tonal and plot similarities. The shots themselves are often direct lifts that make you think Bay’s DVD/Blu-Ray shelf begins with C and ends with Ameron.

Shia LeBeouf returns as Sam Witwicky, an everyday doof with a girl (Megan Fox) way out of his league, on his way to college after spending a couple years hanging out with his alien robot car, (Bumblebee) with whom he saved the world from alien robot jets. (Megatron and Starscream)

The film opens with a beautifully disorienting action sequence featuring the Army working in tandem with The Autobots, (good bots) climaxing in an alien robot truck (Optimus Prime) parachuting out of a bomber and onto the face of  wheeled alien robot thing blowing up Singapore for the Decepticons (Bad bots.)

An alien robot devil (The Fallen) wants to suck all the energy out of the sun , and so he sends alien robots to find a shard of the all-spark, last seen being shoved into an alien robot jet (Megatron) to kill him.  They then shove their shard back into Megatron, which (logically) resurrects him.

Sam, aided by his pet Alien Robot car, enlists alien robots Stepin and Fetchit, aka Car Car Binks, to pick up John Turturro and his hairy bananahammocked ass (rethink your IMAX ticket now) to find an Alien Robot Jet (Jetfire) who will teleport them to Egypt where Sam can decipher the alien symbols infesting his mind after touching his All-Spark Shard. From there, he will find The Matrix of Leadership, which will help Optimus Prime defeat The Fallen, ensuring Sam survives to hump his girl on the hood of his pet car yet another day.

Other things that happen include everything.

Gay dogs dominating each other. An RC truck doing a Buscemi impersonation humps Megan Fox’s leg. John Turturro escapes being peed on but spends a considerable amount of time being dwarfed by Robotesticles. There’s mousetrap sight-gags. A camaro crying. A jet farting a parachute. A boy goes to robot heaven. A woman eats a bag of weed cookies and tackles ultimate Frisbee players. Green Day.

Some will read this and agree: This is simply a case of too much cake. If I want to see the everyman ascend beyond death to be visited by alien angels with the answer to life, the universe and everything, I’ll watch Ed Harris do it. If I want to see a stone killer slowly stroll at the camera as clouds of destruction billow, Robert Patrick  is waiting on DVD.  Revenge of the Fallen is a shortsighted pastiche of all Cameron’s worst clichés with pacing as smooth as the Transformers “Bionicle-crapped-a-box-of-razors-and-brillo-pads” designs.

Some will read this and think: There’s no such thing as too much cake, and this pussy is basically telling me that Michael Bay just made the best movie ever.  The only thing better would be if the old British Jet-Robot with a walking stick sighs and says “I’m too old for this crap,” after totally kicking some Decepti-butt. Wait, that happens? Really? Well then, more cake, please.

Either reading is totally correct.

Star Trek - A Film Review by Fatboy Roberts

Monday, May 4th, 2009

OVERHEARD CONVERSATION BETWEEN A TREKKIE AND SOMEONE WHO DOESN’T REALLY CARE ALL THAT MUCH, OCTOBER 2008:

“I don’t know about this new Star Trek movie. I mean, look at this picture of Spock.”
“Yeah?”
“It’s all wrong. He’s all shiny. He doesn’t look like Spock, he looks like Spock-flavored candy. And the bridge looks like an iPod. The cast looks like an Abercrombie ad. And the warp nacelles are too close together and the secondary hull—“
“Dude, whoa. Stop.”
“What?”
“You’re using words like nacelle, like I have any clue what the f**k that means. Look, last I checked, Star Trek was like, coma-inducing bulls**t. But this actually looks fun.”
“That’s another thing, it looks fun. What the hell is THAT all about?”

THINGS “STAR TREK” NEEDED TO DO IN ORDER TO CONVINCE PEOPLE IT WASN’T A BORING, SELF-IMPORTANT PIECE OF S**T LIKE MOST OF THE OTHER MOVIES:

To look, feel, and move like an honest-to-god film, and not a dry, bloated, low-budgeted  television episode that stumbled onto a movie-screen by accident.

Take the iconography and characterization that inspired the first example of modern fandom, and divorce it from years of sleepy, pudgy, continuity-choked sameness and lameness.

Re-marry that iconography and characterization to vibrant, pretty people who don’t know any better than to have fun with the material, as opposed to cautiously revering it to death out of deference to a tired fanbase riding a wheezing, dilapidated bandwagon.

Conduct that marriage in a way that the people still on that dusty-ass bandwagon can nod and smile approvingly at how right things feel underneath that candy-coated shell.

THE NUMBER OF ABOVE-MENTIONED THINGS “STAR TREK” SUCCEEDED AT:

Pretty much all of ‘em.  I don’t know if this is the best Star Trek movie ever made, but it’s damn sure the most fun one.

JJ Abrams, Roberto Orci and Alex Kurtzman are an unlikely trio of series saviors. JJ has a bit of a reputation as a Lucasian “Idea Man” who might be better off just exec-producing compelling ideas. And Orci/Kurtzman “wrote” the profoundly stupid collection of clichés, groaners and spindly thin plot points that comprised the “Transformers” script.

Michael Bay took that particular pile of pages, put them in a blender with a couple sticks of dynamite and a box of Bionicles, and detonated it. Abrams took a similarly dumb script, but refined it, finding the heart and characterization Orci/Kurtzman hid under on-the-nose dialog, patronizing exposition, and more than a few heaping helpings of blatant fan-service. And then he went out and made the movie of his f***ing life.

The pre-credits sequence by itself is the most cinematic thing ever seen in a Star Trek movie, and the key to the film’s potential success. It had to tie the old series and it’s laborious continuity into this movie’s new universe, without becoming tainted by all the negative, hyper-nerdy pretentiousness currently stigmatizing “Star Trek.” It also had to introduce the villain and set in motion the protagonists’ heroic journeys, while simultaneously setting the tone and establishing the feel of this new Star Trek Universe.

Nero (Eric Bana) is a Romulan whose refitted-for-war mining ship has accidentally been sucked through a black hole into the past thanks to Spock (Leonard Nimoy,) an aged ambassador  whose attempt to save Nero’s planet goes awry. Nero comes through the other end of the black hole directly in front of the USS Kelvin, whose First Officer is one George Kirk. Nero attacks, hoping to exact some measure of revenge, killing the captain and forcing George to spend his last 12 minutes saving as many people as he can, including his wife, who is delivering their son, James. It’s a thrilling, funny, and legitimately tear-jerking introduction.

From there, the main characters are collected and placed at their respective stations in a manner that must have read rote as hell on the page, but feels fresh and fun thanks to the breezy pace of the film, and the actors finding the keys to the characters they’ve been handed, and re-interpreting them in a very pure, but very different manner than their predecessors. Chris Pine’s Kirk, Karl Urban’s McCoy, and Zachary Quinto’s Spock convey the essence of the characters that captivated previous generations without lapsing into easy impersonations.

An even greater feat is Abrams’ ability to let the supporting cast step forward and shine in a way that previous Star Trek movies couldn’t do consistently. John Cho’s Sulu, Anton Yelchin’s Chekov, and Simon Pegg’s Scotty get their chance to save the day in ways that could have been limited to cheap one-liners and a reliance on nostalgia-fueled callback humor, but instead directly propel the film forward in a way that feels completely organic to the plot. Sulu’s wobbly tightrope-act between competence and excellence starts with stalling out the ship, and is paid off in a suspenseful and wonderfully staged swordfight/slugfest. Chekov’s joke of an accent is grounded by real emotion in the crack of his squeaky voice as he’s failing Spock, emotionally wrecking the half-Vulcan. And Scotty? It’s Simon Pegg. He’s the fuckin goods.

Really surprising to me, however, were Zoe Saldana’s portrayal of Uhura, and Bruce Greenwood’s Capt. Christopher Pike. In the original series, Uhura was a cipher, a phone-answering skirt in the background. Saldana makes Uhura the conscience and heart of the crew, providing Uhura the third dimension she’s been lacking for the last 40 years. Greenwood is a swaggering, Han Solo-esque badass so good  that I left the movie sort of wishing this film had taken place even earlier in the timeline, so I could have gotten a movie full of Pike suavely kicking ass up and down known space.

It’s a good thing the character work and pacing of the film is locked in, because the plot is pretty dumb. Nero doesn’t have a plan so much as a quarter-decade’s worth of patience to let cosmic accidents dump key targets in his lap. With the soothing little nostalgia bath Nimoy’s presence provides comes a lot of really lame exposition and laughably convenient plotting.  Bana tries to give Nero some real weight, but it never sticks, not even when Abrams hands him a Khan-ish moment torturing Pike. The climactic showdown between Kirk and Nero is more of an awkward, one-sided ass-kicking. As a matter of fact, Kirk doesn’t win a single fistfight. He gets into like 30 of ‘em, but he invariably ends them all on his ass, bleeding and grunting.

Plus there’s a handful of goofy moments that just don’t work. Scotty turns into Augustus Gloop in a gag-sequence that recalls the droid factory in Star Wars Episode II. This plays even lamer than it sounds because Abrams previously combined slapstick and suspense in a charming sequence where McCoy half-asses a plan to sneak Kirk onto the Enterprise, only to have Kirk bum-rush the bridge while cycling through a series of space sicknesses. It’s an example of Abrams successfully taking a risk at breathing life into this series, as is his choice to score preteen Kirk stealing his uncle’s corvette with the Beastie Boys’ “Sabotage.” Your mileage may vary on whether that one works. I think it does, as does the choice to give Scotty an ugly/cute alien sidekick. Not so much the “Always a Bigger Fish” setpiece w/ Kirk on Hoth, nor the hammy, hyper-casual cheating of the Kobayashi Maru w/ Kirk literally chewing scenery.

But by the time the film ends, it’s hard to hold those missteps against the film. The thing might have more lensflares than a Drew Struzan poster, but it’s the prettiest thing to be associated with Star Trek since Jeri Ryan, and it easily puts both the comedy of “The Voyage Home” and the action of “First Contact” to shame. As the ship warps off the screen, just before Michael Giacchino launches into a full re-orchestration of the classic theme, all the key players in their place, a totally clean slate in front of them, I found myself grinning at the prospect of this director steering these actors into a future series of films that might finally capitalize on all the potential that Star Trek has always offered. I finally want to follow this ship where no one in charge of Trek has gone before, because Abrams, with this reboot, sells the idea he might actually go there.

OVERHEARD CONVERSATION BETWEEN A TREKKIE AND SOMEONE WHO DIDN’T REALLY CARE ALL THAT MUCH, POST-PREVIEW SCREENING, MAY, 2009:

“I dunno about you, but that was pretty f***in great.”
“Yes, it was.”
“You still give a s**t about the nacelles or whatever the f**k those things are?”
“Not really, no.”
“Are you crying?”
“No. What? No! I’m not–”
“Dude, it’s okay, I choked up a little at the beginning, too.”
“Really?”
“No, you f***in baby. S**T, I wish I could watch this thing again already.”

Dreams Deferred: Nagging Subconscious Injury Report

Friday, March 27th, 2009

I was just BS’ing on the internet (there’s a shock, right?) and came across a messageboard thread entitled “What are your broken dreams?” Being a maudlin, sentimental sort of douche, this is the kind of thread that speaks to me. I’ve always been sorta fascinated with the stories of people on the fringes of things. The guy 3 rows back who saw Lincoln get assassinated at Ford Theater. The guy who worked on one episode of Saturday Night Live, got half of a skit into the show, only to have Chevy Chase ad-lib all over it, and then get dismissed from the writer’s room the next day. The Cup-of-Coffee minor leaguer who finally got called up by Detroit to take a couple pokes at the ball in the 8th inning against Cleveland. It’s those stories that always tug at me, of people close enough to the spotlight to feel how hot it is, but not close enough to actually get any shine. Salieri, not Mozart. Zmuda, not Kaufman.

So I waded into the thread to read about a bunch of 20-something guys telling total strangers online about the dreams they had growing up, and which of those dreams are still within their grasp, and which of them are like eggshells around their feet, cracked and blowing away. Lotta people wanted to be an astronaut with the powers of Superman, of course. Lotta people wanted to sit on their lawns in an inflatable pool surrounded by their lottery winnings, sipping fruity drinks and getting sunburnt. One kid wanted to invent video games, and he stocks shelves at Wal-Mart. Another wanted to be an astronomer but the inability to wrap his head around anything beyond Algebra totally kneecapped that ambition.

Getting paid to make people laugh is pretty damned close to my dream.  Entertaining people is pretty much all I’ve been prepared to do since the first time I found out I could make people giggle in the middle of my 1st grade reading class. But doing it inbetween Metallica songs was not how I dreamed it would go down.

The NBA is my first broken dream. I worked at this one from age 8 until age 15. I got pretty good. Made all-star teams, got voted MVP once, scored 30 in a game more than a few times. My skill-set might have gotten me a scholarship had I been around 6-5. I had pretty good swingman game, decent enough handles and court vision for a 2 or a 3. People used to compare my game to young Charles Barkley. I wasn’t anywhere near that good, of course, but it was a decent comparison point so far as the style of game went. If I was around 6-5 or so.

I’m 5-6. and a half.

Mom drank coffee and smoked while pregnant with me. All my siblings are around 5-9 to 6-1. Except for my oldest sister, who mom smoked and drank coffee whilst carrying. She’s 5-2. I goof on mom for this, because a lot of people did that sort of thing back then. I mean, I could blame her for being short, but that’d be sorta dumb. I don’t think I’d have reached 6-5 if she’d drank nothing but V-8 and ate Special K for breakfast every day. It was a different time back then, and it’s not like she didn’t love me or anything. She just contributed enough genetic makeup to make sure I was built like R2-D2.

Sometime between 10th and 11th grade my assistant coach tried to get around school rules regarding how early you could start recruiting and practicing for the following season by holding “open gyms.” I brought one of my streetball friends to a practice. He abused my assistant coach in the post for most of the “open gym.” The assistant got really flustered, angry, and started flagrantly fouling my friend. My friend smashed his face with an elbow. A fight broke out. I was cut from the team the next year for not showing proper dedication to the goals of the team. Not having anything to do all winter, I laid on the couch and watched sitcoms with mom while eating corn dogs and frozen twinkies. Hence the earning of my nickname the following year.

I also used to think I could break into screenwriting. Entered a bunch of contests, tried to get some agents. Nothing. I used to think it was my location, that because I wasn’t centrally located in Los Angeles, I couldn’t get any spotlight on these blockbusters I was churning out on my pirated copy of Final Draft. But really, it’s that my scripts weren’t that good. Plots were clunky, dialog sounded realistic but there was way too much of it and everything read like a self-indulgent 20-somethings attempts at being deep, filtered through bad imitations of Kevin Smith and Quentin Tarantino’s filmographies. Which is what they were.

I registered all of them with the WGA. Pulled out what I thought of as the most solid all-around script about a month ago. Lifetime movie at BEST. Maybe not even that. I thought it was so important-feeling, so insightful and enlightening then, the raw voice screaming out, trying to teach the world the all-important lessons I had learned about life and love. It was just screaming, really. Nothing deep or important. Just “SOMEONE MAKE ME FAMOUS PLEASE I DREAM ABOUT MY NAME ON A CREDIT BLOCK.” That’s all it was. And that’s why it reads so facile and hollow now. I wasn’t in service to any of those stories. Those stories were in service to getting me a paycheck. I wasn’t a writer. I was a hack. And the worst kind of hack on top of that - the unpaid hack.

I’m murder at slam-dunk contests though. So long as the hoop is around 9 feet.  And I do help write a weekly radio drama series now. I did my first solo episode last weekend, about zombie apocalypse survivors stranded on ross island here in Portland. They break into a hospital to retrieve some antibiotics. It’s some real comic-book action type stuff, and I think it reads pretty well. Probably because I didn’t come up with the story, my friend Aaron did. But still, it reads like I’ve moved from Kevin Smith meets Quentin Tarantino to Joss Whedon meets James Cameron. Badly xeroxed and stepped on by a couple hundred people, but you know what I’m saying. It’s the Charles Barkley comparison of my writing “career,” broken dream that it is. It’s still not where I want it to be, but looking at how I did all those previous scripts wrong is helping point me towards making these little zombie chronicles work right.

I can’t even play basketball anymore - my hips essentially atrophied in my really fat period, and I’ve developed a strange little affliction where my knees try to pick up the slack my hips aren’t carrying, and it causes serious, intense pain in the back of my knees that render me almost immobile after about 15 minutes of a game. I’m probably in the best physical shape of my life now, and I can’t actually play the game anymore. I can ride a bike for hours at a time, I can do a bunch of pushups and situps, but 15 minutes of the game I spent so much time trying to perfect now makes me slump into a chair like an octogenarian and wince for an hour straight.

I’ve lost my court vision, too. The very last game I ever played was at Lents Park about a year ago. I played for 10 minutes. My team lost 15-6. I had maybe 2 assists. 6 turnovers. My passes were all late. My jumper is the only thing still there, and it’s a broken, tattered thing, too. I didn’t get enough lift on my last shot attempt, partly winded, partly in agony. The shot descended back towards the asphalt, a good 3 inches from the front of the rim. The catcalls from the got-nexters ushered me offstage. I left my old ball resting against the pole holding up the backboard, went to my car, and drove home to shower. The end.

The job I do have isn’t either one of those dreams. It changed, it shifted on me.  I actually did get to achieve my dream of entertaining people for a living. It just didn’t happen in the form and fashion I thought it would, and not on the scale I was dreaming of. But it DID happen. And how it happened is a pretty good story, too. I’m appreciative. Very appreciative. Don’t  mistake this as me singing the song of settling - I’m lucky to get this close to the dream and not have the sun melt the wax and send me plummeting back to earth. It’ll happen soon enough. I’m circling a sick sun. When Adam Carolla can’t hold a job for longer than 2 years, you know eventually I’m gonna have to wake up sooner or later. But I’m gonna smile with this sun on my face for as long as I can, so long as you’re still smiling, too.

But some days I wake up, like yesterday, not appreciative, but frustrated because the dream I just left behind on my unmade bed includes crossing someone up just beyond the 3-point arc, getting enough distance to one-hand a perfect alley-oop pass to the sort of beanpole kids I used to run with, who made all-state teams effortlessly, almost blasé in their mild appreciation of the physical gifts they’d been blessed with. They backdoor their defender, go up, and flush the pill like I had sent a butler to deliver it on a silver platter. I jog back to my defensive position with a smirk on my face. I’m 6-5 and nobody called me Fatboy and I’m working on my triple double and trying to find my mom in the stands. She toasts me with a V-8, lip of the glass parallel to the patch on her upper arm, sticking out just beneath the replica jersey with my name on the back.

It’s a nice place to visit every now and again, I guess. But it ain’t home.

I Love You Man - A Film Review by Fatboy Roberts

Wednesday, March 11th, 2009

Peter (Paul Rudd) is a Real Estate Agent who doesn’t have any guy friends. He loves “Chocolat” and pronounces it correctly, which is to say, like a poof. He’s not gay, he’s just soft and squishy and utterly unfamiliar in the ways of man, lost when it comes to stuff  like noncommittal grunts and fist bumps and why 5 spades beats trip queens. When coming home early to his fiancée Zooey (Rashida Jones,) he hears a veritable henhouse full of her friends clucking about how he’s a clingy nightmare waiting to happen, and decides he needs to go get himself some man-panions. So Rudd taps his little brother, a gay personal trainer played by Andy Samberg, who keeps accidentally channeling Mark Wahlberg with his performance. Or maybe not, considering the role.

Jesus Christ Rashida Jones is hypnotizing to look at

An extended series of “man-date mishaps” ensues, mostly forced and implausible instead of funny. I guess the concept of taking montage sequences from sh**ty Jennifer Aniston movies and swapping out the masculine Aniston for the comparatively feminine (ish) Paul Rudd makes sense aesthetically, but “The Office,” has gotten America used to awkward humor in a way that feels much more honest than “I Love You Man” can even dream of being, even when Thomas Lennon is going all Catwoman on Rudd’s face.

But just when Rudd has given up, he meets Sydney (Jason Segel) while showing off Lou Ferrigno’s house to prospective buyers. Bad timing for a film  about Rich Real Estate Agents struggling to sell Million Dollar Homes to Other Rich People. If this comes out a year ago, not so bad. But now? Who gives a f**k if nobody buys Lou Ferrigno’s mansion in the hills? F**k his mansion. I rent a single bedroom house 1 block down from a Russian Orthodox Beet Cartel or something. I’m having problems sympathizing with Rudd’s troubles.

But seriously though, Rashida Jones is hot like volcanos erupting suns in hell.

So Rudd and Segel hit it off, true “Bromance” evolves, and all the formulaic things you would expect to happen in a rom-com unfold in genuinely funny ways once these two are allowed to just ping-pong off each other. Director John Hamburg effectively twists the  romantic-comedy into a real, honest-to-god buddy film, in a way the forced “Man-panion” bulls**t just can’t. Of course, the close friendship will put a wedge inbetween Peter and Zooey, jeopardizing their perfect day. Can Peter balance being besties with being there for his bride-to be?

Segel is great as a sloppy, shambling, beer-guzzling version of Tim Roth’s character in “Lie To Me” by way of Annie Hall. Rudd is basically playing an emasculated version of the nerdy dope Alicia Silverstone had a crush on in Clueless. He was good then, he’s even better now. And Hamburg must have cashed in a ton of favors, as the flick is littered with smile-inducing appearances from JK Simmons, Aziz Ansari, Rob Huebel, and especially Jon Favreau, who owns every minute he’s onscreen as a cigar chomping alpha male, more man than even Lou Ferrigno, who plays himself as a pissed off homeowner. Zooey’s friends however, aren’t handled as lightly: Jaime Pressly plays a bitch (surprise) and Sarah Burns plays an even more annoying bitch. Honestly, you wonder what’s wrong with Zooey that she’s marrying Peter and hanging out with these two cougars.

I Love You Man is a movie that should have come out about a year ago, when the concept of something as insipid as “man-dating” still had some traction. That concept  takes a frequently funny buddy comedy and dresses it like a misguided tribute to a stillborn cultural meme, when it’s actually closer to a minor-key inversion of Wedding Crashers. Not only is it good enough to get Segel and Rudd the cover of Vanity Fair, it gives you a chance to ogle Rashida Jones for about 90 minutes.

I Get Paid to Do This Weak-Ass Jon Stewart Impersonation

Thursday, January 29th, 2009

By request from a listener who called up like “I need a transcript of the 3pm Dirty Laundry”

Good sir, I grant your wish, because I? I am an attention whore and the idea that someone would want my hackwork saved for posterity on the vast expanse of the intertrons? It tickles me. Tickles me delightedly. DeLICIOUSly, even. So here you go. 

The Headline: Blagojevich: How can I be ousted on allegations? Rod Blagojevich, the senator who got caught on tape trying to sell Obama’s senate seat to the highest bidder, testified at his impeachment hearing, stating that his impeachment would set a dangerous and chilling precedent if it went forward. “Not only would it be dangerous, it would be chilling” said Blagojevich, “and that is a combination that is both frightening and chilly, and also, if I may, quite risky, and more than a little nippy.” Blagojevich further went on to say “I will not give up. I am here to fight for the citizens of Illinois, primarily me, as I am a citizen of illinois and I like my job and I’m pretty important. I don’t know if anyone told you. I have really fabulous hair. People routinely tell me how good I look.” and then, in an example of classic defense strategies as employed by the likes of world renowned lawyers and adjudicators like Judge Harry Anderson and Matlock A. Matlock, Attorney at Matlock, he said “You know who you should go after? Rahm Emanuel. Yunno why? Because he’s mean.” The hearings paused for a second to consider whether Rahm Emanuel was the one with really fabulous hair caught on tape trying to sell Obama’s seat. He was not. I’m not sure that angle will be pursued. Probably because Rahm will simply de-throat anyone continuing to pursue it, and cook the throaty meat into a very tasty hoagie style sandwich.

The Headline: Elizabeth Hasselbeck of the View is pregnant again. I don’t even know who this person is. I’m guessing it’s the blond idiot from the show full of cackling yentas and the black chick with no Eyebrows from that One Star Trek where Professor Xavier from X-Men sat around and got migraines all day long. She’s the one that’s like a Bratz Doll version of Ann Coulter, right? Anyway, this was the 2nd headline on the AP Wire today, so that sorta forces me into reporting on it because it’s apparently legitimate news. Some blond wingnut with all the IQ of a goddamned rock was smart enough to bake baby batter into a living, mouthbreathing, non-contributing member of stupidity. I woudn’t say society, because the fact this cross-eyed blow-up doll is actually having children makes me fear for actual society, where sociable people know how to socialize intelligently, and whatever spawn will come shooting out of her clown car will not belong to society, but instead, to a culture of vapid stupidity, of which this cackling chickenhead is practically queen. This is her third baby with former Arizona Cardinals meatsack Tim Hasselbeck, who apparently was hit in the head a lot. “We are thankful for this blessing and we will be practicing our zone defense strategy immediately” said Hasselbeck. This reporter can only hope the strategy includes taking a sock, some mortar, and a garden trowel, plugging her hole with the sock, and sealing the maw with the trowel/mortar combo.