#angela kinsey rares

[otterandterrier]

So I've been listening to the Office Ladies pod a lot lately, which is Jenna Fischer and Angela Kinsey's rewatch of The Office and it's great but, anyway

As someone whose second language is English and rarely has a chance to practice speaking, therefore making me really insecure about my pronunciation, it's hilarious/relieving to hear them talk outside of a tv show and make fun of each other for pronouncing things differently like, you don't realize this when it comes to your first language, but not everybody speaks it the same way! So I'm like, well if they're both native English speakers and they don't naturally agree on a correct pronounciation for "feral", maybe I don't have to beat myself up for not knowing it either.

[radiatingrares]

Colleen Ballinger, Erik Stocklin & Angela Kinsey (x)

[faejilly]

@shadoedseptmbr replied to your post “I mentioned on Twitter the other day that I've been rewatching Murder,...”

I noticed stuff like this during my Magnum rewatch. Cops are terrible, in general if not outright crooked. Military people are individually ok but the brass/system is usually evil or complicit. The guys are physically affectionate w/each other.

YES

Like the subtext (and sometimes out-right text) is almost always that individuals may help you but institutions are bad.

(And yeah, it was a lot easier to find friendship on a lot of the older TV shows.)

@meowlizziemixer reblogged your post and added:

Need to point this out to my grandma... 🤯

:D good luck

@bitchwhoyoukiddin reblogged your post and added:

also, women are incredibly competent across the board and all the people you saw on tv in the early 2000′s showed up at least once. In the case of Brian Cranston, three times!

I think I’ve only gotten to him once so far? *laughs* But yeah, the guest-stars repeat pretty often.

which is a little confusing considering how often characters are recurring, so there’s always a moment of am I supposed to recognize you, or pretend that I don’t?

I don’t recall many recurring cops though, minus Cabot Cove’s Sheriff of course, which says something right there.

(Seth! Was a lawyer on a stand-alone episode before they brought him back to be Seth Hazlitt. I’d forgotten that, until I saw that first episode again, and I spent the whole thing sort of waving at the screen like, wtf.)

The other thing I have always enjoyed about MSW is the age range. Like, the guest cast in any episode will have at least one person who is in Jessica’s general age range, (and usually it’s more than that), plus older and younger, and it’s so RARE to see TV shows that aren’t populated by indeterminately-30-somethings most of the time.

(And the quality of the guest casts! Such people! Dear lord. It’s great.)

@servantofclio replied to your post “I mentioned on Twitter the other day that I've been rewatching Murder,...”

but you can totally trust Angela Lansbury

💯

@jchance4d4 reblogged your post and added:

This reminds me, a lot of the discussion of police and copaganda recently has reminded me of how the PI and amateur detective completely disappeared from American TV in the late 90s-early 200os.

Very true.

It reminds me of the uh... Kinsey Millhone alphabet book series by Sue Grafton, how she made each book continuing on a timeline shortly after the first, rather than adapting it forward in time to match how long they take to write... which isn’t a terribly unusual choice for any long-running series, that it follow it’s own chronology rather than trying to keep it “current” 

But also, her PI main character was such a product of the 1980′s, and the genre she was writing mostly also ceased to exist in books (though it didn’t completely disappear like it did on tv) by the 90′s/00′s that if Grafton had tried to have them running concurrently with contemporary times for publication, I’m not sure they would have worked for the audience in at all the same way.

Like, back on 80′s TV, (which I think was still, in some ways, influenced by the lingering after-effects of Vietnam, you can see it a bit around the edges when you watch even the lighter shows, as well as the continuing Cold War), even MacGyver or the A-Team had a combination of individual exceptionalism (because most of us can’t do what they do, which is true of Jessica Fletcher or Spenser & Magnum as well, obviously) balanced out by the inherent assumption that of course if you can you use that to help people. Like, it’s so obvious it never occurs to them not to! That’s what it is to be a person in the world! 

But also you help because you know, for all it ought to be obvious, sometimes it isn’t, and authority is always more interested in being authority than being helpful.

And it skewed sideways when they made the protagonists part of that system by making most procedurals about cops rather than the amateurs, because the combination of ‘the system is bad’ and ‘individuals can be exceptional (because that’s mostly more interesting to watch)’ created this ‘rogue cop hero’ who bucks the system... but it always shows them bucking the parts of the system that are actually there to limit abuse of power rather than the parts of the system that limit their ability to help.

And some of it seems clearly to have been accidental, but some of it could not have been, not with how consistent and wide-spread some of those tropes are.

[missglass]

my pandemic media diet 1/5: podcasts

normally I listen to podcasts when I am riding the subway or train, which I did considerably less this year for obvious reasons. but I listened to these - very easy-listening podcasts - mostly while cleaning or working out for which they were perfect:

Fake Doctors, Real Friends: This “Scrubs”-Rewatch Podcasts is great because one: Scrubs is still a funny and good show, and two: Zach Braff and Donald Faison are also friends in real life and I can listen to friends banter and talk all day long. They don’t only talk about Scrubs, but also about Covid, BLM and have a bunch of guests on, so it rarely gets boring (though the segments where they chat about Star Wars etc. sometimes get a bit boring).

The Office Ladies: Similar format as Fake Doctors, Real Friends: two friends and former stars of “The Office” talk about an episode of the show each podcast-episode. it is however more structured and the hosts, Angela Kinsey and Jenna Fischer, talk almost exclusively about the show, which is nice, because you get great behind-the-scenes for the show, but can also be a bit tedious at the same time.

At home with: We are following a pattern here: This is also just a podcast of two friends, Lily and Anna, this time chatting about a random topic each weak. Both hosts are usually youtubers and i really liked their interior design podcast they did in earlier seasons. Now due to the pandemic they just chat each in their houses about relationships, weddings, moving, working and all kinds of other mundane and deepish topics. they are british and lovely to listen to.

Noble Blood: This one is more topical and requires more attention, but is worth it. It’s a history podcast, where each episode is dedicated to some royal figure or some specific historical royal scandal. It’s very well researched, but very entertaining, because it is anything but dry. the stories are mostly a bit morbid or gruesome, but very exciting.

[a-man-for-hire-and-his-archives]

HEATHER GRAHAM SENDS UP HOLLYWOOD’S TOXIC MASCULINITY IN HER DIRECTORIAL DEBUT

written by: Jacob Oller

Heather Graham has been a mainstay in both indies and comedies since License to Drive and Drugstore Cowboy in the late ‘80s. Her performances, especially her lauded turn as Rollergirl in Boogie Nights [1997], were often sex-positive and presented with an agency and enthusiasm rare from others cast in similar roles.

Her intense fascination with sexuality is as deeply felt in her performances as the roles themselves—as sex workers or other objects of the male gaze—position her for a thoughtlessness stereotypical in the film industry. Reclaiming these roles and using her position as a decades-long sex symbol, Graham has written and directed her first movie, Half Magic.

Half Magic, a romantic comedy about sexism in the film industry (and the world at large), focuses on women sick of being mistreated by men, leaving Graham’s character Honey to negotiate her position in Hollywood and her relationships to men and sex. Honey, along with friends played by Stephanie Beatriz and Angela Kinsey, tackle their love lives, their friendships, and sexually harassing bosses with a bit of witchery a la The Craft [1996]—only their magic is mostly hope and good intentions.

This is all perfectly positioned in the wake of the #MeToo movement disrupting the predatory status quo of the entertainment world. When I sat down with Graham to discuss her directorial debut, she was eager to talk about the shifting ideals of the film world.

JACOB OLLER: I know you’ve been shopping this script around since 2014, so this has been on your mind a while—how was the experience getting this to the public?

HEATHER GRAHAM: It was hard getting the financing. We have a friend named Michael Nickles, who’s a producer on the movie, and I was writing the script during a breakup. I wanted to find a way to laugh at all the things in life that had really upset me, and Michael said “You should direct this.” He helped me find these financiers and we went into pre-production, then they told us they didn’t have the rest of the money. We had to shut down the film and it was devastating. So stressful. Then I met Bill Sheinberg who told me “if you get the rights back and all your legal stuff is kosher, I’ll make the movie.” We had to get this quitclaim [deed], we got the rights back, and finally we made the movie. It was a long road and, luckily, it’s coming out at a time when people are open to the subject matter in a way they’ve never been before.

OLLER: It really feels like Chris D’Elia’s film executive character in the film grew out of these Harvey Weinstein allegations, but you had this written years ago.

GRAHAM: Of course guys have been acting this way for a long time. Finally America decided “this isn’t cool anymore.” Hopefully that makes people more open to my story, which is about sexism, sexual harassment, and all that specifically in the entertainment business.

OLLER: As someone switching to a new side of the business, I know you’ve said that as an actor playing a part, it’s your job to be on your character’s side, so you have to see it all from that perspective—how does that job change when you’re also the director?

GRAHAM: An actor could be playing a person who’s crazy or a person who’s mean, a person whose point of view you don’t agree with but have to find their point of view. When you make a movie you can tell a story from your own perspective and tell the story you want to tell. I wanted to inspire and empower women, and men too, by opening up a conversation about sexism, relationships, and sexuality. I think women in our culture are presented with a mixed message. On one hand we’re told “your looks are the most important thing and you have to look sexy” while we’re also told “don’t be too sexy or we’re gonna judge you harshly.”

OLLER: One of my favorite lines from the film is during a script discussion where your character says “I like sluts, why do they all have to die?” which is a funny way of summarizing these sex-positive values.

GRAHAM: I did want to be sex-positive because our culture is sexist. If you see a male hero and he’s James Bond and having sex with all these people, everyone thinks he’s so cool. If you watch, for example, a horror film, and you see a girl that has sex with a guy, you know she’s gonna die. In film and in life, women are punished for things that men are celebrated for.

OLLER: In terms of your direction, did you try to subvert this?

GRAHAM: I mean I made the women the protagonists. Most movies have men protagonists with women as the objects. Mine has female protagonists and men that are…maybe “objects” is the wrong word..

OLLER: I think there’s definitely some fun objectification done with something like Luke Arnold’s dancing, especially since the way you film sex scenes and physical comedy feels very linked.

GRAHAM: I’m glad you said that because his whole character actually happened to me. I met this guy who, I didn’t realize it at the time, but he was doing a lot of drugs. He was all “I make up my own exercises” and stuff, but he was so cute! So later I thought “that’s kind of crazy” but he was so handsome I let it slide. I was definitely making fun of not seeing red flags. A guy that breaks up with you by telling you he wants to go climb a mountain but he really wants to go do drugs? At the time it was devastating, but in retrospect it’s so obvious.

OLLER: Wait, the mountain stuff is real?

GRAHAM: Everything in that breakup scene is real. Everything the guy says to her is real. “I have wars to fight, I have mountains to climb…” Someone actually said that to me.

OLLER: Were any other lines from the script taken from your life?

GRAHAM: A lot. When she’s at work and her boss tells her “If you want to get a movie made, write about a man. Nobody cares about women stories.” I was developing stories for years that I wanted to act in and produce, and a lot of people would tell me that exact thing.

OLLER: Wow.

GRAHAM: For anyone outside the industry it sounds crazy, right? The hardest part of doing this movie was getting someone to give me the money. People are scared to take a chance [on a female filmmaker].

OLLER: Do you think that will change in the wake of the #MeToo movement?

GRAHAM: Hopefully. I think people want to be on the right side of this issue, so they’re doing some affirmative action. But if you look at the percentages of women directing film, it’s still around 7 percent.

OLLER: Does establishing a directorial foothold with Half Magic mean you’ll be pursuing more in the future?

GRAHAM: I’m working on two stories right now, one called Chosen Family about a woman’s dysfunctional family and how it repeats itself in her romantic relationships, and another one about cancer. They say they want to cure cancer but it’s such a big business that…do they really want to cure it? That’s the idea, anyways [laughs].

OLLER: Changing directions after that, when you direct the sex scenes you also star in, you use this really interesting superimposed shot of you and a sort of mystical outer space. Where did that idea come from?

GRAHAM: I put that in because I experienced something that felt like that. I grew up religious and was told I would go to Hell for having premarital sex. So I was having sex at one point and had this spiritual moment where I felt like the universe was telling me that sex is a beautiful, divine thing. Feel good about it! For the movie I went, “how do I express this?” So I figured, I’ll just do what I saw. This starry sky and this voice that talked to me. I actually got my yoga teacher to do the voice in the film. It’s a trippy part in a comedy movie, but it’s my personal experience around sexuality.

OLLER: Did any of that come from your interest in transcendental meditation? I heard you got into that after working with David Lynch.

GRAHAM: So I was in the original Twin Peaks when I met David and David’s really into it. He’d meditate every day at lunch. I was like 20, which is a hard age when you’ve left your parents and want to become your own person. I definitely had a bit of angst and talked to him about that. He said I should really try meditating and I figured, what do I have to lose? I’ve been doing it ever since then. It helped me break a lot of bad habits, like I used to eat a ton of junk food. 

- Interview Magazine

[aion-rsa]

What Makes The Office So Rewatchable?

https://ift.tt/3yUPU8j

You’ll have heard that young people don’t watch television anymore, which might come as some surprise to young people. They absolutely still watch television, just on their own schedule, not that of a broadcaster, and not the way it used to be done, anchored to a single spot or even a single screen. 

If young people didn’t watch television, then The Office: An American Workplace wouldn’t have been streamed for 57 billion minutes in the US in 2020, because it’s far from only those of us who’ve experienced the mundanity of office life who love The Office. Increasingly, it’s youngsters who find in Dunder Mifflin a kind of refuge. They stream The Office like the middle-aged pour a glass of wine after a long day – liberally and probably more often than is good for them. Teenage superstar Billie Eilish told the ‘An Oral History of The Office’ podcast that she’s watched the show all the way through 14 times, a total of 1,000 hours, which by my calculation is roughly how old Billie Eilish is. My 20-year-old niece tells me that you don’t ask if someone else has watched The Office in the past tense, you ask if they watch The Office, because it’s an ongoing cycle that once begun, never really ends. So what explains the enduring appeal?

Comfort in predictability 

With no slight to the comedic achievements of The Office, which are legion, its workplace premise means that episode by episode, the show runs along the same rails. It largely takes place in one familiar set that remains pretty much the same for almost a decade. An office workday brings its own rhythm. Morning, lunch, home time… Repeat. Episodes follow that same lulling pattern. The environs and costumes rarely change, and there’s something soothing about the visual constancy. As actor Angela Kinsey told Brian Baumgartner’s Oral History podcast, “You turn it on and you know where everyone’s going to be. You know Pam is at reception and I’m at accounting. Those people become like your extended family and you’re just kind of checking in with them.” When the world news, or your personal life feels on shaky ground, it’s reassuring to mentally escape to somewhere you know won’t jolt or unsettle you. 

Nobody’s a supermodel millionaire

The Office was cast by the brilliant Allison Jones, who’d previously cast Freaks and Geeks with teenage unknowns Seth Rogen, James Franco, Jason Segel and more (Rogen later auditioned for the role of Dwight Schrute, which we know now could only ever have been played by Rainn Wilson). Jones’ expertise, and creator Greg Daniels’ vision gave The Office the perfect cast. Its actors weren’t models (Phyllis Smith wasn’t even an actor, but Jones’ colleague who’d read with the actors for auditions and simply couldn’t be bettered) or heart throbs; they were funny and talented and didn’t feel out of place in the somewhat drab setting of Scranton, Pennsylvania. Their characters were decidedly not hot-shots, not rich, and not aspirational in any of the usual TV ways. As Rainn Wilson says on ‘The Oral History’ podcast, “In The Office, no-one’s fashionable.” (Sorry, Kelly Kapoor. He didn’t mean you.) Compare that to the damaging self-perfection of influencer culture and the image and brand-conscious lies of social media and reality TV, and it’s no wonder some young people find Scranton a relaxing place to spend time. 

Read more

TV

The Office: The Frustrating, Moving Story Behind Steve Carell Leaving

By Louisa Mellor

TV

Why The Office’s Jim Halpert Is the Absolute Worst

By Elizabeth Donoghue

A strangely nostalgic 20th century idyll

The Office isn’t set in the 20th century, but it feels as though it could be. The sense of timelessness was a deliberate move by Greg Daniels, who outlawed pop culture references as a general rule, to ensure that the show wasn’t pegged to a particular period. That was a shrewd move which doubtless contributes to the show’s longevity a decade after it finished airing. American critic Emily VanDerWerff goes one further. Speaking on ‘The Oral History’ podcast, VanDerWerff gives the sharp insight that The Office represents a working life that, thanks to economic instability and the gig economy, is no longer widely available to young people. When The Office started, it captured the drudgery of everyday life, says VanDerWerff, but these days, it’s closer to an escapist fantasy for anyone on a zero hours contract. “The world of Dunder Mifflin, it’s like Brigadoon, it’s in the mists somewhere, we can’t get back to it.” Actor Creed Bratton on the same podcast agrees, likening the show’s world to the fictional town of Mayberry from The Andy Griffith Show, or to 1970s sitcom Green Acres. “They go to work at Dunder Mifflin and the seasons go by and the babies are born and people fall in and out of love, and I think it has sweetness.” It has sweetness, yes, but with a comedic edge that stops it from ever becoming cloying.

We can all relate 

If Gen Z are unlikely to personally experience the black hole/reliable comfort of a Dunder Mifflin-ish job these days, does it even make sense to them? Of course, and aside from the fact that they have imaginations, that’s because so much of The Office is universal. The Scranton branch of Dunder Mifflin, with its weirdoes and bullies and warehouse jocks and sweethearts, is a school, and a retirement home, and everywhere in between. The sibling dynamic of Jim and Dwight, or the cliques of the committees, and Michael Scott’s lonely struggle for popularity, is recognisable pain at any age. And as a viewer grows up, with every rewatch, new laughs and understanding swim into view. 

There’s joy in abundance 

There are over 200 episodes of The Office. It is not a scarce commodity that requires eking out or – to be frank – treating with any respect at all. It’s a bountiful joy. When you’ve seen it once, you can go right back to the start and use it as atmosphere, as a companion, as a marvellous, grateful alternative to all the television that makes demands of you. You know the kind of TV, with its Easter Eggs and call-backs and complicated backstories and the concomitant duty to theorise every two minutes as to what’s ‘really’ going on. The Office asks nothing of you but your company, and given that, it brings rich reward.

The hand of friendship

The mockumentary format provided by the show’s UK original builds in complicity between viewers and characters. When Pam looks to camera across a crowded room, she’s looking specifically at you. Her exasperation and shock and desperation are appeals made to you, the friend who understands. The lightly serialised, beautifully honed character comedy of The Office is your low-maintenance, always-there companion, a friend for life with a good heart and a wise eye for the beauty in ordinary things. The real question is, why wouldn’t you rewatch?

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The Office: An American Workplace is available to stream on Peacock in the US and on Netflix in the UK. Listen to Brian Baumgartner’s ‘An Oral History of The Office’ on Spotify and elsewhere. 

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'The Office' stars unpack Toby's departure and Holly's arrival in the 'Goodbye, Toby' episode

‘The Office’ stars unpack Toby’s departure and Holly’s arrival in the ‘Goodbye, Toby’ episode

Goodbye, Toby. Hello, Holly. That’s the main gist of the Season 4 finale of The Office, “Goodbye, Toby,” which was so jam-packed with delightful storylines that it became a rare two-part episode. On the latest episode of the , Office stars Jenna Fischer and Angela Kinsey chatted all about the first part of “Goodbye, Toby,” which was written by Jen Celotta and Paul Lieberstein and directed by Paul…

[innlinkr]

The Most Beautiful Woman in the World Award Save more with Innlinkr

My adoration for women is actually a rare innocent one if I am allowed to judge myself. I will be more than happy to outline my criteria that define my own jurisdiction, because it's not correct to be one's own judge. But, I think I will let my results speak for themselves.

The most beautiful woman in the world, for most exotic beauty, goes to Jennifer Connelly. I can not get her hair out my head from the movie Blood Diamond . Of course, she's in the bushes in West Africa following the story of conflict diamonds and does not have time to setup an appointment with a hairdresser. But when someone can be that gorgeous even under those circumstances, that's what drives me wild. Forget the fact that I've been in love with her since I first saw her in Labyrinth and I've followed her career through some of my most favorite movies including House of Sand and Fog , Dark Water , and He's Just Not That Into You . Jennifer Connelly steals away with the most beautiful woman in the world for most exotic beauty.

The most beautiful woman in the world, for being an unexpected hottie, goes to Jenna Fischer. I started watching The Office when it first came out in 2005 and I noticed the cute receptionist behind the desk. I loved the way she flirted with Jim and deal with Michael. I was actually rooting for Jim and now he finally is with her, with a child and the whole nine yards. But then, I saw her on the cover of Shape in November 2009. It was seriously one of those Wow moments. Who in the world is that? The hottest little hottie to grace the cover of Shape , and I had no idea that the cool, cute receptionist from The Office was that gorgeous. Jenna Fischer takes by a landslide the most beautiful woman in the world for being an unexpected hottie.

The most beautiful woman in the world, for absolute adorability, goes to Jennifer Aniston. Bursting onto the scene in Friends , she caught everyone's attention with her rich-girl innocence and her amazing beauty. The Rachel hairedo became a national hit. Millions of girls tuned in every week just to see what she was wearing. Even though she could not miss any matter what she wore, she had some of the most famous outfits including the green dress in TOW No One's Ready , the yellow dress in TOW All The Kissing , and the black dress in TOW Monica's Thunder . Rachel Green owned that show and Jennifer Aniston went on to star in such favorites as Office Space , Along Came Polly , and The Break-Up . Jennifer Aniston sweeps the votes for the most beautiful woman in the world for absolute adorability.

The most beautiful woman in the world, for pure loveliness, goes to Angela Kinsey. Another unexpected beauty comes from The Office in the form of Angela Martin. She plays the straight-laced accountant who can not stand inappropriate behavior, excess indulgence or frivolous activities. However, she goes on to have an affair with both Dwight and Andy at the same time showing us that she too is human…

Source by Michael Allen

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