In this week's Brooklyn Nine-Nine, the precinct is being covered for an article by Jimmy Brogan (Stacy Keach), the tough-as-nails reporter who covered crime in the '70s — when the moustaches were juicy and everyone wore orange polyester — and wrote Peralta's favorite book, The Squad. The novel inspired Peralta to become a detective and Peralta considers Broagn his hero, so he spends the episode trying to impress him by behaving like the old school cops did in Brogan's book. But Brogan's not too impressed by the identity theft case that Peralta and Santiago are working on, calling them "hair bags" and refusing to take them seriously until Peralta joins him for a night of hard drinking and foolishly on-the-record statements. Peralta then has to find a way of keeping Bogan from printing some unflattering things he said about Holt while he was drunk.
Brooklyn Nine-Nine has already proven itself to be one of the funniest comedies on televison right now, and it keeps getting better with each episode. Part of this has to do with the show's ensemble, which gives the wonderfully weird and hilarious actors and characters room to shine every week, and the show does a great job of putting the spotlight on different characters every week. We've decided to highlight the funniest characters and their best lines and moments this week, so here are our picks for the MVPs of Brooklyn Nine-Nine's eighth episode, "Old School".
NOTE: We only have one real complaint about this episode, and that is the continued lack of screentime for Andre Braugher. Here's hoping that Holt gets some great moments again next week.
Jake Peralta-"Old School" is the best episode yet for both Andy Samberg and Jake Peralta. Samberg carried the whole thing effortlessly, with plenty of opportunities to show off his physical comedy — something that has always been his strong suit. When it inevitably comes time for Brooklyn Nine-Nine to submit episodes for the Emmys, Samberg would be a fool not to submit this one. It was also great to see Peralta not only prove himself a great detective this week, but also to see the great person he is beneath his ego and well-timed comebacks. The show needed an episode like "Old School" to redeem the backslide that hit Peralta last week, and hopefully they continue to improve his character as the season goes on. - While operating the bomb disposal robot to remove Scully's shoes from the office: "I know what I'm doing. I saw the first 10 minutes of The Hurt Locker."- Peralta: "Is the sky just a big blue hat that the world wears?" Diaz: "No. And nobody has ever thought that."- Peralta has read 15 books in his life, which is funny in and of itself, but Samberg's facial expression when Santiago comes back with, "50 isn't a lot of books. Wait, did you say 50 or 15?" makes the whole exchange hilarious. - In order to impress Bogan and smell like one of the old school cops, Peralta rubs cigarette ash all over himself. - Peralta arrives at the station, incredibly hung over, and passes a perp who keeps shouting about how they'll never catch him. Peralta replies with a perfectly frustrated, "We already got you, idiot." Samberg is so good in "Old School" that he even makes his throw away lines memorable. - Samberg is brilliant at physical comedy, and this week's highlight comes from the way he slides halfway down his chair, then flops face-first onto the floor because he is too hung over to sit up. - While lying on the floor: "My whole body has dry mouth!"- Holt: "You look like a corpse we pulled out of the river." Peralta: "I look like a rock star who OD'ed and drowned in his own pool. There's a difference."
Charles Boyle- Joe Lo Truglio has been having a great run of episodes, and has managed to transform Charles from a one-joke sadsack into one of the show's most consistently funny characters. In "Old School," he gets to be the teacher rather than the student, when he and Sgt. Jeffords coached Diaz on courtroom conduct. As the show has proven in the past, a confident Charles is a hilarious Charles, and this episode is no exception. - Peralta describes losing his virginity to his teacher's daughter as "very fast," to which Charles responds proudly, "Nice!"- Diaz: "I look like Arsenio." Boyle: "So... it's perfect?"- "If the problem is that you're nervous, that's where Charles Boyle lives, baby!" - Charles continues to be a major foodie, by revealing that his "happy place" is just him slurping up the world's longest linguini noodle, with a sauce change every 20 feet. Lo Truglio's enthusiastic delivery of "Ooh, pesto!" sells the whole thing. - His giggle when Diaz thanks him for helping out is perfectly timed and perfectly dorky.
Scully- The biggest laugh of the night comes, surprisingly, from Scully revealing that although he doesn't drink, he did spend most of 1987 on a cocaine binge. The subsequent flashback, with him wide-eyed and speed talking to a shirtless Hitchcock, would have easily stolen the whole episode, but the writers managed to top it with Scully's follow-up line: "I had three heart attacks and filed for bankruptcy. Hitchcock turned out fine, though."
For those of you who like me have in recent years come to regard “chick flick” as a purely pejorative term Bridesmaids directed by Paul Feig (Unaccompanied Minors) and starring Kristen Wiig (MacGruber) is nothing less than miraculous: A broad female-driven comedy that is both sharply observed and genuinely funny capable of inducing howls of laughter from both sexes in equal measure. What's more unlike other offerings from the genre it actually respects its audience’s basic intelligence. How refreshingly novel.
Wiig who also co-wrote the film’s screenplay with Annie Mumolo plays Annie 30-something and stranded. Since losing her business and subsequently her boyfriend to the Great Recession she’s resigned herself to mediocrity slogging through a dead-end job at a jewelry store where she labors vainly to conceal her cynicism from the bright-eyed folks shopping for engagement rings and BFF bracelets and clinging to a dead-end relationship with a handsome but solipsistic creep (Jon Hamm) who very plainly regards her as nothing more than a convenient booty call.
Annie’s lone source of relief from the drudgery and ennui is the close bond she shares with Lillian (Maya Rudolph) her lifelong best friend. When Lillian reveals that she’s gotten engaged and that she’s chosen Annie to be her maid of honor at the wedding Annie’s already shaky emotional footing threatens to give way entirely. Wiig is fairly brilliant here (and indeed throughout the film) subtly and humorously conveying both overt happiness for her friend’s milestone and internal terror over the sudden realization that the music has stopped and she’s the only one without a chair.
Lillian’s engagement sets up the film’s main comic conceit: the rivalry of passive-aggressive one-upsmanship that develops between Annie and blue-blooded Alpha bridesmaid Helen (Rose Byrne) a pretty prissy blue-blood who clearly covets Annie’s maid of honor role. Pressured to prove herself against the would-be usurper Annie leads the bridal party into one disaster after another starting with a Brazilian luncheon that results in a violent case of food poisoning in the middle of their gown-fitting.
As you might gather from the above example some of the film’s comic set-ups verge on the predictable but Wiig a comedienne equally adroit as the brunt of jokes or the source of them keeps things fresh and lively – and funny – throughout. I’d be remiss however if I didn’t recognize the scene-stealing efforts of Melissa McCarthy as Megan the mannish potty-mouthed sexually aggressive sister of the groom the bridal party’s oddest — and ultimately its most grounded — member.
At times Bridesmaids tries a little too hard to be an all-female version of The Hangover Wedding Crashers or any of the other films to which it has been copiously compared. The needless intestinal comedy of the wedding-gown dysentery scene in particular serves as little more than proof that women are just as capable of reaching for easy laughs via telegraphed gross-out jokes as men. (I suspect this as well as the film’s overlong running time stems in part from the creative influence Judd Apatow who produced the film.)
Bridesmaids is at its best when it’s not reaching or forcing matters but rather when it puts its trust in its talented cast. The relationship that blossoms in fits and starts between Annie and Rhodes an Irish-American traffic cop played by Chris O’Dowd is heartfelt and its evolution stunted at various points by Annie’s penchant for neurotic self-sabotage feels genuine. Wiig and O’Dowd establish an easy endearing chemistry devoid of the pat screwball give-and-take that so often characterizes rom-com courtships and it helps keep the movie aloft when its comic energy ebbs.
Talk-show host Jay Leno has been awarded "hundreds of thousands of dollars" in damages after books of his jokes were published without his permission.
The Tonight with Jay Leno host, along with NBC Studios and a handful of other comedians, sued comedy author Judy Brown and her publishers for including their gags in a series of books.
The federal copyright infringement lawsuit, which also named Rita Rudner, Jimmy Brogan, Diane Nichols, Sue Pascoe, Kathleen Madigan and Bob Ettinger as affected parties, claimed Brown collected thousands of jokes that appeared in 19 books over 10 years, without the permission of the writers.
In a statement, Leno insisted jokes must fall under copyright laws.
He said, "I thought it was important to make it clear that jokes are protected like any other art form."
The suit has now been settled out of court with Brown and her publishers agreeing to pay compensation, stop producing the joke book and make all efforts to remove existing copies from stores.
Theodore J. Boutrous, Jr., an attorney representing the comedians and NBC, refused to disclose the exact financial details but revealed the settlement would add up to "hundreds of thousands of dollars."
He also confirmed that Leno, Rudner and NBC will all donate their settlement portions to charity and his law firm will also contribute a percentage of its fees.
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This documentary follows superstar Jerry Seinfeld as he returns to stand-up trying out all-new jokes on tour. Along the way he meets newbie and fiercely driven young comic Orny Adams who aces his gig at Montreal's classic comedy festival and lands a dream manager (Seinfeld's own George Shapiro). From the Gotham Comedy Club Standup New York Carolines and the Comic Strip to gigs on the Tonight Show and Letterman Comedian tracks the progress of many a talented stand-up comic famous and not so who follow their dreams and obsessions to bravely try to make it solo. A trove of master comics like Bill Cosby Ray Romano Jay Leno Garry Shandling and Chris Rock share their wisdom jokes and war stories throughout. Seinfeld's behind-the-scenes preparation to go before a large theater audience suggests that the comic is ultimately motivated by love--the immediate instant gratification love from a big live receptive adoring loud audience.
A film with such appealing and charismatic personalities as Jerry Seinfeld Chris Rock Garry Shandling Jay Leno Bill Cosby and lesser-knowns can't miss having immense appeal. Seinfeld at his peak conveys immense charm and humor. His humbling yen to return to his stand-up roots further endears. Some comics captured like funny guy Colin Quinn suggest that life in the funny lane is irresistible though not without speed bumps and soft shoulders. But Leno proclaims that if you don't do the stand-up you don't have it. A final segment that has Seinfeld making a big return to stand-up in an awesomely gorgeous venue suggests why the thrill of going it alone is never gone.
Director Christian Charles (who directed Seinfeld in his award-winnning Amex commercials) mans one of the two DV cameras that captured the action and delivers the goods. Direction is straightforward and focused allowing the stand-up comics megastars or otherwise to always hold center stage. Charles understands that camera tricks are redundant since his compelling subjects will do the trick. Film clocks in at a peppy 81 minutes and is propelled by a jazzy score.