#where michael rapaport

[jlf23tumble]

I def agree that there were loads of great moments in both Stern interviews but like how can you not dislike that man Jen 😩 He’s literally one of the most dislikable, unpleasant pricks out there. He’s a raging homophobe, a notorious anti-black racist and he has degraded and humiliated women for decades. I’m not coming @ you by the way just wondering what is there to like about this dude.

So this reads like someone who hasn't listened to his shows in the last 10-15 years or so, but for me, it comes down to I love the parts I love, and I gtfo for the parts I don't, I'm an adult like that, lulz. I started listening to him after he had already mellowed out quite a bit, I know the crazy shock-jock early years would have been unlistenable to me (and he has gone on record to say unlistenable to him as well), but the period when I tuned in every day as part of my commute and work life? Yeah, I enjoyed it--and when I didn't love it (my god, do I hate most of his staff and regular callers), I just switched over to something else. The stuff I like about the dude? He's funny, smart, neurotic, a world-class interviewer, in love/borderline obsessed with his wife, a good dad to this three daughters, a ride-or-die for his black co-host (her cancer battle, what he went through to help her, my god, it's weep-worthy), a good ache for any "missing NYC vibes." It's a shame that his network (team??) makes it so hard and/or expensive to just cherrypick what you want to hear from his shows, and he HAS dialed down how much he works by a lot, but I would pay cash money to hear the old news hour, the interviews, the shootin' the shit with Robin about his weekend (and I would skip just about everything else, but that would still be about 3 hours a day back in the day). I've listened to him in full, in context, off and on for years, so maybe I'm too compromised for people who are easily offended, but I find quite a lot to like about him, sorrrrrry! (Also, hot take alert, I would reckon there are WAYYYYYYYYYYYYYYYYYY more women in the one direction fandom who have actively shit on women, humiliated them, than he has)

[hussyknee]

I'm very serious when I say the biggest threat to Jewish people's safety rn is Zionist celebrities and influencers on social media. They validate and promote every single antisemitic trope whenever they post. It's chilling. I've seen one of them specifically targeting and threatening Black Americans for their lack of support, and it's doing wonders for the platform of Black Trump supporters.

[eretzyisrael]

by Walla!

Jewish-American comedian Jerry Seinfeld arrived in Israel on Monday, together with his wife and children, to express solidarity with the nation following the horrific massacre that occurred on October 7. In this, Seinfeld joins other Hollywood stars who have done so, including actor Michael Rapaport, actress Debra Messing, and producer Scooter Braun.

It has not been reported with whom Seinfeld is expected to meet, or where he is expected to visit.

A few days after the October 7 carnage, Seinfeld joined the outpouring of solidarity with Israel by posting a message of support on his Instagram account, which has 1.3 million followers.

Seinfeld's love for Israel

The message was posted with a photo of a woman draped in an Israeli flag with the slogan: “I stand with Israel,” taken from the Israeli advocacy organization, Stand With Us.

[unitedfrontvarietyhour]

Welcome to Commievision. Please make sure your deprogramming glasses are on, your solidarity plugin is enabled, and to watch to the end for the full experience.

Timestamps:

0:06 - TRTWorld Report: UNRWA faces withholding of funds from multiple UN member states (circa Jan 2024)

0:23 - "Just Another Precise, Surgical Strike on Hamas by Israel"

1:04 - "That's not morality, that's a PR exercise" Ben Kentish on LBC Explaining Where in Gaza is "Safe"

2:03 - "Yitzhak Shamir on Mastermind" Spitting Image sketch

2:52 - "Where's the Apartheid?" Farah Jad Schools Michael Rapaport on Israeli Apartheid

4:43 - "Every Accusation is a Confession"

4:56 - Israeli Tank Enters Rafah

5:18 - Noam Chomsky Destroys the Charge That "Antizionism is the New Antisemitism"

[corsairesix]

Beating the Joyless Fallout New Vegas Fan Allegations

AKA the stuff I liked in the Fallout show

The creepy vault stuff in the first couple episodes was really good. It was exactly as uncanny and cultish as they should be. I wish more of the show was Lucy dealing with her fucked up vault programming being incompatible with reality instead of the generic "vaulties are soft and nice in contrast to the mean old world" but it comes across really good in episode 1.

I also like how much the BoS is a technofascist cult in the early episodes too. It's more religious and more psychosexual than other BoS portrayals, which in a vacuum is really interesting.

Max watching Titus die was really good. That whole scene was great. I love how when you're not against small arms fire power armor is a big shitty weight that kills you. I love how Titus goes from a dominating space marine-esque fascist hero figure to a whiny shithead the moment the helmet comes off. Michael Rapaport dying is great. It's also a great character beat where Maximus tries to reconcile betraying Titus with what seem to be genuine brotherhood principles. I wish they had been explored further.

BRICKBALL: THE AMERICAN PASTIME!

Norm solving the vault mystery was my favorite of the main plots and was somehow both really accurate to actually solving a vault mystery in-game and actually entertaining to watch. I love the shitty roomba Robobrain.

My thoughts on the episode's structure aside, I really liked Vault 4 being A) a mixed community of vault dwellers and surface folks and B) having visible mutants. Chris Parnell and Cherien Dabis gave great performances.

Moldaver if you read this im free on Thursday night and would like to hang out. Please respond to this and then hang out with me on Thursday night when I’m free.

The Fiduciary Responsibility scene was so good. Like best individual scene in the show. Really lays out all the problems with Vault Tec and how it ties into capitalism itself. Dallas Goldtooth killed his performance. Like, he only got one scene to really act, and he made it the most important scene of the show with his delivery.

[ausetkmt]

I first saw Bamboozled as a 15-year-old, in April 2001, at the Ritzy Cinema in Brixton, south-west London, and it threw me for a loop. Written and directed by Spike Lee, the film is an intense satire about a frustrated African American TV executive, Pierre Delacroix (Damon Wayans), who creates a contemporary version of a minstrel show in order to purposefully get himself fired, and expose the commissioning network as a racist and retrograde outfit. However, the show, which features its black stars wearing blackface, becomes a huge hit, prompting Delacroix’s mental collapse, and an explosion of catastrophic violence, the effects of which are felt far and wide.

In a fraught contemporary climate where the mediation of the black image in American society is at a crucial juncture, Bamboozled’s trenchant commentary on the importance, complexity and lasting effects of media representation could hardly feel more urgent. Each time an unarmed black person is killed, then hurriedly repositioned in death as a thug, a brute, or a layabout by mainstream media outlets – as has happened recently to Trayvon Martin, Michael Brown, Eric Garner, Samuel DuBose and countless others – we are seeing the perpetuation of old anti-black stereotypes, forged in the crucible of mass American art, reconfigured for our time.

Lee’s film traces a grim continuum between stereotypes old and new, connected by knotty skeins of institutional racism. Many critics at the time of the film’s release suggested that Lee had needlessly reopened old wounds; that the dark days of minstrelsy were comfortably behind us, and that we should move on. Yet Lee’s vision was not only necessary, it proved remarkably prescient. During the course of writing this book, I rewatched episodes of garish reality TV shows like Flavor of Love (2006-8), starring the clock-wearing rapper-cum-jester Flavor Flav, and The Real Housewives of Atlanta (2008-). I had to concede that Bamboozled’s nightmarish New Millennium Minstrel Show didn’t look so far-fetched after all. I sat gape-mouthed in front of Lee Daniels and Danny Strong’s musical soap opera Empire (2014-) – a wildly entertaining but exceedingly dubious carnival of black pathologies – and couldn’t help but wonder if it was the type of show that would get Bamboozled’s master-wigger network boss Dunwitty (Michael Rapaport) hot under the collar at proposal stage.

When, in October 2014, I saw footage of freshly signed rapper Bobby Shmurda literally dancing on a table in front of a group of executives, exactly like performer Manray (Savion Glover) does in Bamboozled, I began to wonder whether Lee was in fact a secret soothsayer. Not even he, however, could have predicted the transcendentally weird tale of Rachel Dolezal, the NAACP leader in Spokane, Washington, who was revealed to have been white, and posing as African American all along. At the time of the incident, many wags on social media suggested that Lee would be the ideal man to direct Bamboozled 2: The Rachel Dolezal Story.

Bamboozled’s shrewd commentary on the lack of behind-the-scenes diversity in mainstream entertainment is also especially relevant today. The presence of figures like Robin Thede – head writer on The Nightly Show With Larry Wilmore, and the first black woman to hold that position on a late-night network comedy show – and Shonda Rhimes, the powerful showrunner behind Grey’s Anatomy, Scandal and How To Get Away With Murder, is heartening. Yet a report released in March 2015 by the Writer’s Guild of America West revealed that minority writers accounted for just 13.7% of employment: a dismal statistic. Moreover, Rhimes’s success didn’t insulate her from being disrespectfully branded as an “Angry Black Woman” – that most pernicious of stereotypes – in a rancid, supposedly flattering article by Alessandra Stanley in the New York Times

While most of us can cheer the incrementally increasing diversity on our film and television screens, Bamboozled forces us to question the quality and progressiveness of these roles. Ostensibly it’s great that talented actors such as Mo’Nique (Precious, 2009), Octavia Spencer (The Help, 2011) and Lupita Nyong’o (12 Years a Slave, 2013) are winning Oscars, but isn’t the shine taken off somewhat by the fact they were rewarded by the establishment for playing, respectively, a psychotic “welfare queen”, a neo-Mammy in a white savior period picture, and a chronically abused slave? Why don’t black women win Oscars for playing complex heroines or crotchety geniuses like their white male counterparts? Because old stereotypes die hard within an industry that prefers stasis over change. Perhaps even more disturbingly, there’s something inherently soothing about such stereotypes for mass audiences – a point particularly relevant to the wild popularity of Bamboozled’s own minstrel show.

And how far have we come, really? Ridley Scott cast a host of white actors (including a fake tan-enhanced Christian Bale and Joel Edgerton) in his Middle Eastern epic/flop Exodus: Gods and Kings (2014), but his response to complaints was both flippant, and distressingly matter-of-fact: “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed. So the question doesn’t even come up.” The best riposte to Scott and his film came from independent black film-maker Terence Nance, who wrote that “[l]ike The Birth of a Nation before it, [Exodus] traffics in absurd cultural appropriation and brown-faced minstrel casting/makeup techniques to rewrite African history as European history, and in so doing propagates the idea that European cultural centrality is more important than historical fact and the ever-evolving self-image of African-descended people as it is influenced by popular representations of people of color in Western media distributed worldwide.”

Nance, however, is just one talented black film-maker among many (Dee Rees, Tina Mabry, Haile Gerima, Julie Dash, Barry Jenkins et al) who have struggled to attract funding to tell artistic and personal stories outside of the monolithic, corporate world of mainstream entertainment which Bamboozled so acidly depicts (even if it is set in the world of TV rather than film.) Lee has long been vocal about the struggles he’s faced in raising funds to tell black-focused stories, and even he had to go cap in hand to fans on Kickstarter to crowd-fund his idiosyncratic, low-budget vampire movie Da Sweet Blood of Jesus (2014). Da Sweet Blood is his most excessive, least easily readable work since Bamboozled, but it can’t match his earlier film for sheer visceral impact.

Bamboozled, then, is a genuine one-off, but I can detect traces of its relentless, irritable, questioning approach in a variety of contemporary art. I see it in Justin Simien’s excellent college-set satire Dear White People (2014), which was inspired by horrific, real-life blackface parties at universities across America. I see it in the antic situational comedy of Key & Peele, whose best sketch, musical spoof “Negrotown”, compresses the madness, pathos and insight of Lee’s film into four-and-a-half harrowingly hilarious minutes. I see it in Branden Jacobs-Jenkins thrillingly audacious play An Octoroon (2013), which reconfigures blackface tropes in daring ways. Most of all I see it coursing through the veins of Paul Beatty’s scabrous satirical novel The Sellout (2015), about a shiftless young black Angeleno who hatches a plot to reintroduce racial segregation, and takes an elderly slave – a disturbed former “pickaninny” star of Little Rascals films – while he’s at it. Like Lee’s film, it plays as a shotgun blast to the face of formal convention, it’s stubbornly resistant to a single concrete interpretation, and it has a lot of very painful things to say about America today.

ABC’s enjoyably gentle sitcom Black-ish (2014-), meanwhile, simultaneously echoes Delacroix’s crisis – with its premise of a middle-class black ad executive (Anthony Anderson) jockeying for position in a white corporate space – and feels like the kind of show Delacroix, free of Dunwitty’s pressure, might have concocted himself.

Lastly, I couldn’t help but think of Bamboozled while poring over Ta-Nehisi Coates’s epic essay in the Atlantic, The Case for Reparations, which uncovers, in forensic detail, the institutional plunder of black Americans from slavery to redlining to mass incarceration and its destructive impact on families. Coates’s fury is more controlled than Lee’s, but it’s equally sincere, and his essay shares with Bamboozled the central imperative to look directly into the heart of past racial sins in order to plot a productive way forward.

It is time, then, to take a close look at Bamboozled, which deserves to be respected as much more than a mid-career oddity in Lee’s filmography. It is a vital work that’s equal parts crystal ball and cannonball: glittering and prophetic, heavy and dangerous.

[sorenblr]

So I've been watching your stream VODs and you're actually fucking hilarious. Where the heck did you get your sense of humour, who are your inspirations? You deadass sometimes sound like penguinz0 btw

Thank you, this is very flattering! This is also the second time someone has said I sound like penguinz0. Haven't watched his streams but I take it we both possess some sort of 'pimp gene' that makes you sound like a badass.

Anyway, when I survey the comedy that hit me at a formative age it's mostly dire. I didn't have regular internet access until I was about 15, so instead I was exposed to Comedy Central Presents standup specials way too early on and it malformed my brain. I have a distinct memory of humiliating some kid in highschool after I called him out for trying to pass off a fucking Nick Swardson bit as his own. But this is why we make fun of Michael Rapaport, Bill Burr, Dennis Leary etc. on stream. This makes it sound like the streams are unfunny dogshit but I promise they're pretty good.

Otherwise just late 90s sitcoms, sketch shows, and whatever was playing on Comedy Central and Adult Swim between approx. 2003-2011. I've seen How High about seven times and I'll watch it at least as many times again. I watched The Oblongs. I don't know if it was funny or not, but it was a cartoon with cusses so I watched it. And so on.

so to answer your question my main inspiration is method man and redman

[tahelms85]

Here's the thing. We're all in agreement that June's Journey should be turned into a movie, right? Or an episodic tv show where each season is based on each chapter of the game. I've been thinking about casting choices and here's what I came up with. Some of the characters, I refuse to believe aren't based on these actors, they look too much like them!

June Parker-Courtney Cox Virginia Van Buren-Anne Hathaway Martha Talbot-Jane Lynch Walter Talbot-Levar Burton Jack Hayes-Gerard Butler Amelia Dumas-Anika Noni Rose Sam Watts-Michael Rapaport Silvio Santini-Tom Hanks Bobby Talbot-Michael B Jordan

[remidepointedulac]

i like the part in the fallout tv show where michael rapaport is revealed to be one of the knights and then is immediately killed by a beast. very cool 👍🏽

[adamwatchesmovies]

The 6th Day (2000)

As far as Arnold Schwarzenegger’s filmography goes, The 6th Day lands near the middle. You’ll get an entertaining two hours out of it but a lot more could have been done with its premise.

In the near future (they say it’s sooner than we think), animal cloning has become routine but human cloning has been outlawed by the “6th Day” laws. Charter pilot Adam Gibson (Schwarzenegger) is hired to fly Michael Drucker (Tony Goldwyn), the CEO of Replacement Technologies. Adam trades places with his coworker Hank (Michael Rapaport) at the last minute but both Hank and Michael are killed by an assassin. To cover up the murder, Replacement Technologies - who has been lobbying for a repeal of the 6th Day laws - clones Michael and Adam (remember, he was supposed to be onboard). With two Adams running around, Replacement Technologies’ big secret will be exposed, unless Drucker’s agents can get to Adam first.

There’s always a certain amount of fun with any movie set in the future. The 6th Day postulates that we’ll have screens on our fridges that will allow us to order groceries the second they start to run low, have (mostly) self-driving cars, holographic girlfriends walking around our homes, interactive dolls that can literally befriend your children, laser guns and of course, cloning. We don't have all of these available yet but some of these prophecies have come true and since the film doesn’t commit to a set date, it isn’t embarrassing itself. Most of these aren’t actual predictions for what the future will be like anyway. The 6th Day isn't really interested in the ethics of cloning or where our civilization might be headed. When it touches upon the topic, it’s so it can highlight this character as being good, or this other one as evil.

If the movie were smarter, the “big twist” that comes during the last third might’ve been less obvious. Oh well. You’re watching this movie to see Arnold in a "Runner" sci-fi film trying to figure out what happened to him, uncover the conspiracy that’s going on, learn why we should hate the bad guys and then cheer when he takes them out. With cloning being Drucker’s trademark, his cronies (they’re played by Michael Rooker, Sarah Wynter, Rodney Rowland and Terry Crews) are never down for long. It seems a little inefficient considering you could probably hire someone to keep quiet for less than the 1.2 million Drucker says it costs him to bring his Team Rocket back to life over and over… but it does allow them to get more personality than the average baddies we see in these kind of films.

Several of Schwarzenegger’s pictures have been remade, rebooted or turned into franchises: Conan the Barbarian, The Terminator, Predator, Total Recall, etc. Why not this one? Because it's no classic. The 6th Day moves quickly, it’s got some neat bits of future tech, and a great premise but it could've been so much more. The funny thing is, this is exactly the kind of film that someone SHOULD redo. I doubt even director Roger Spottiswoode or writers Cormac & Marianne Wibberley would be opposed to the idea. The 6th Day is not essential viewing but if you’re in the right mood, it hits the spot. (August 3, 2022)

[raybizzle]

"Bamboozled" (2000) is a comedy-drama written and directed by Spike Lee about two homeless street performers who agree to partake in a television network show where they perform in blackface. Spike Lee examines the racist depiction in Hollywood movies featuring Black people in satirical form. Blackface became popular in American Minstrel shows during the early 1800s, many years before emerging in Hollywood movies. But in the early 1900s, blackface appeared more in films predominantly played by White people until Black people, such as Bert Williams, began earning film opportunities in the mid-1910s.

There were two primary types of blackface in early Hollywood. The first was in clown form, using some form of black paint or polish (most common in Minstrel shows), and the other was White people portraying Black people in movies with black makeup. Negative stereotypes in Hollywood movies evolved further into characters such as Lincoln Perry (a.k.a. Stepin Fetchit) or Mantan Mooreland, the central inclination of Lee's film.

Throughout the movie, there are several examples of racist depictions of Black people in film and cartoon form. However, the film analyzes corporate dishonesty, the contentious rap militant group fed up with the show's racist content, and the easily appeased audience. The actors performed very well on a complicated topic. Unfortunately, the film flopped at the box office, grossing $2.5 million on a $10 million budget. The movie requires context and understanding. It's an educational piece of artwork not only from the premise of the film but also the technical mastery in editing and cinematography. The soundtrack was a mixture of hip-hop and R&B, peaking at #60 on the Top R&B/Hip-Hop Albums chart.

Director: Spike Lee Writer: Spike Lee

Starring Damon Wayans, Savion Glover, Jada Pinkett Smith, Tommy Davidson, Michael Rapaport, Thomas Jefferson Byrd, Paul Mooney, Sarah Jones, Gillian White, Susan Batson, Yasiin Bey, M.C. Serch, Gano Grills, Canibus, DJ Scratch, Charli Baltimore, Craig muMs Grant

Storyline Under pressure to help revive his network's low ratings, television writer Pierre Delacroix (Damon Wayans) hits on an explosively offensive idea: bringing back blackface with The New Millennium Minstrel Show. The white network executives love it, and so do audiences, forcing Pierre and his collaborators to confront their public's insatiable appetite for dehumanizing stereotypes.

Available on Blu-ray and streaming services.

[webseriesviral]

‘Vanderpump Rules’ Star Lala Kent Says Katie Maloney “Emotionally Abuses” Tom Schwartz On ‘WWHL’ Lala Kent has offere... #movie quote #movies #movie line #movie line #movie scenes #cinema #movie stills #film quotes #film edit #vintage #movie scenes #love quotes #life quotes #positive quotes #vintage #retro #quote #quotes #sayings #cinematography

[hiphopnewsoftheday]

Tunnels In Brooklyn: Where Is Michael Rapaport And Peter Rosenberg?

Tunnels In Brooklyn: Where Is Michael Rapaport And Peter Rosenberg?

[cavenewstimes]

View: Boxing Legend Teaches 53-Year-Old Comedian Actor Michael Rapaport in a Hilarious Back-and-Forth

It might sound unexpected, however ‘The Executioner’ stays amongst the couple of champs and greats who lost bouts early in their professions. Most likely that’s where their achievement lies, for they took it on the chin and resisted hard, creating a tradition tough to match. He retired 7 years back, Bernard Hopkins stays active in boxing. He frequently marks his existence with Golden Boy promos.…

[wyn-n-tonic]

i've been doing a rewatch of Justified so i can go into City Primeval with well adjusted eyes (and the twangiest version of my accent ever oh my god) and i have three episodes left on season six but i'm so close to just tapping out. like i feel like i need to tap out SO BAD RIGHT NOW. and why? because Jere Burns. i have made it to the end of almost six seasons where the guests were my arch nemesis Michael Rapaport and that one actor i made cry that one time but these last three episodes are testing meeeeeeee.

[cyarsk52-20]

SCANDOVAL UPDATED JUNE 9, 2023

The Stars of Fiction Weigh In on the Stars of Vanderpump Rules

Photo: Bravo/YouTube

The fate of our nation hangs in the balance: None of the stars of Vanderpump Rules have signed contracts for season 11. Executive producer Alex Baskin told Variety that he believes the cast will ���need a minute” before they resume filming. “No one’s saying no, I’ll say that — but I think it’s hard for anybody to say yes right now, because they feel like they haven’t gotten any reprieve.” This month’s reunion episodes brought revelations that the cast may need time to process before they decide to re-up with Bravo.

Know who cares deeply about this news? The celebs. Scandoval has shocked every level of society, including the famouses. “I’m so interested in Vanderpump Rules, and I dreamt about Ariana last night,” Molly Shannon told Jimmy Kimmel in March. “I had a dream that I was like, ‘It’ll be okay,’ just last night.” Shannon is far from the only “real” celeb who is transfixed by the reality stars and their big breakup. Jennifer Lopez cares, Michael Rapaport won’t shut up about it, and Roy Wood Jr. is … at least aware of what’s going on. Amy Schumer compared part 3 of the reunionto the end of Schindler’s List, it was that devastating for her. Below is a mere smattering of all the celebs who have weighed in on Scandoval.

Amy Schumer Feels Vindicated for Being a Sandoval Anti

Ziwe Wants to Confront Tom Sandoval

https://www.tiktok.com/embed/v2/7242064127697407278?lang=en-US&referrer=https%3A%2F%2Fwww.vulture.com%2F2023%2F06%2Fscandoval-celebrity-reaction-round-up.html%23&embedFrom=oembed

Chris Pratt Knows Katie Maloney

Kristin Chenoweth Loves Feminism

Karen Gillan Is Invested

Jennifer Lopez Would Just Walk Out

Molly Shannon Dreamed a Dream

Roy Wood Jr. Brings Scandoval to the White House

Chrissy Teigen Finds Sadness Beautiful

Leslie Bibb Is a Schwartz Anti

Annaleigh Ashford Cringes Watching Confessionals

Gillian Jacobs Doesn’t Think Tom and Raquel Will Last

Cecily Strong Found the Silver Lining

Liev Schreiber Doesn’t Care

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