You may know Keegan Michael Key and Jordan Peele best for their famous sketch: Obama and Luther. The comedy duo often spoofs President Obama on Comedy Central’s appropriately named sketch show Key & Peele, but they’ve certainly got a few other laughs up their sleeves. Including the recent Dubstep skit, which turned the wildly popular musical style into an affliction I wouldn’t wish on my worst enemy. It’s the perfect way to support their viewpoint on comedy: make it absurd. “Everything changed because of social media. Everything has to change…” Key tells Hollywood.com. Now that social media is an integral part of comedy, it’s necessary to stay on top of what people are talking about. (And let’s face it, the Internet is practically a playground for Dubstep digs.) Of course, comedians can’t just take a trending topic, whip up a joke, and immediately be funny. In order for a sketch to catch on, you need to go further, according to Key and Peele. “The stuff that seems to really, really, really take off online is stuff that’s comparable – stylistically – to Monty Python,” says Peele. And no, that doesn’t mean the best stuff on the Internet is full of British accents, silly walks, and Terry Jones in a dress. Instead, it’s simply absurd. “There’s a deconstruction of comedy that’s happening in this medium. Things that are avant-garde are the things that take off,” adds Key. And there’s a reason you have to be a bit ridiculous if you’re trying to grab eyes on the Internet: It’s the way we watch that content. Now people get their web videos so many different ways: on their phones, iPads, and iPods. The viewing experience is changing and it takes a lot to fully engross your audience. The competition is steep, but that’s why we’ve got such a wealth of comedy at our fingertips right now. “Look at it this way: If you’re looking at an 11-inch screen and you’re laughing out loud, someone’s doing something right,” says Key. It's pretty hard to argue with that. The only question that remains is: Does their Dubstep skit pass the tiny-screen test? Key & Peele airs Wednesday nights at 10:30 PM ET on Comedy Central. Follow Kelsea on Twitter @KelseaStahler [Photo Credit: Danny Felds/Comedy Central] More: What is the Sitcom of the Future? And When Will It Get Here? Lena Dunham is Writing a Book: Vying to Be 'The Voice of a Generation' TIFF 2012: 'Liars Autobiography' Directors & Terry Jones on Capturing Graham Chapman
The British fighting legend and charity advocate passed away at his son's home in Surrey, England after a short battle with ill health, two days before his 77th birthday earlier this month (May11).
Following his death, boxing icon Muhammad Ali gave a moving tribute to his one-time adversary, saying, "Henry always had a smile for me; a warm and embracing smile. It was always a pleasure being in Henry's company."
Soccer heroes Charlton and Keegan were joined by fellow sports stars Sir Trevor Brooking and Barry McGuigan and beloved British TV personalities Bruce Forsyth, Sir Terry Wogan and Russ Abbott at the Corpus Christi Catholic Church in Kent, England to bid farewell to the fighter.
Cooper's coffin arrived at the church draped in a Union Jack flag, with a red wreath in the shape of a boxing glove and his nickname, 'Our 'Enry', was spelt out in white chrysanthemums.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.