What are a pair of girls who want to take over the talk show host circuit supposed to do these days? With all the competition around, it's hard to leave a mark. Best thing to do? Make a plan — the devious, the better. Comedians Nikki Glaser and Sara Schaefer know that the only way to get to the top is to destroy your enemies. So, while it was great having you around, Conan O'Brien — your ginger-tinged time is up! It's time to make room for the girls at the Late Night table.
In the exclusive videos below, we see Nikki and Sara joining forces to bring late night to its knees. Will their devious plot succeed? Is Conan's time coming to an end? Should Jimmy Fallon be the next target on their list? Check out the exclusive clips below to see how Nikki and Sara plan to bring the late night laughs to MTV. And whatever you do — don't drink the water!
Nikki & Sara LIVE premieres January 29, at 11pm EST/PST on MTV. Will you be tuning in? Sound off in the comments.
[Photo Credit: MTV]
Follow Alicia on Twitter @alicialutes
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Before we get started with the recap of the latest episode of Girls, let's begin with what you all really came here for: trying to find the name of that incredibly catchy tune Hannah and Elijah were dancing to at the club was. It's Icona Pop's "I Love It" and you're about to listen to it on an endless loop over the next few days. Have fun, kids.
Alright now that that's taken care of, let's get to the episode, titled "Bad Friend", which took both Hannah and Marnie (sadly, both Shoshanna and Jessa only made one brief appearance at a sidewalk sale) to unexpected, uncomfortable places they'd never really been before. When Hannah gets a freelance assignment from a kooky online editor (played by Angela Featherson) to take "a bunch of cocaine" and write about it, she doesn't think twice about it, despite the fact that she'd have to find the cocaine herself and would make just $200 for the whole ordeal. But, hey, she's living the dream, right?
Hannah recruits Elijah to be her partner in cocaine after scoring some for their former junkie downstairs neighbor Laird (Jon Glaser), who in true New York fashion, she has never met or talked to before. Ignoring the rules of "human decency" Hannah and Elijah begin their cocaine adventure at 4 in the afternoon and quickly descend into drug-addled hysteria of coming up with life goals ("I would like to visit a prison!") and writing them on the wall. That's the least troublesome thing they'd do.
After picking out just the right power clashing, high-on-cocaine outfit, Hannah and Elijah hit the club to experience (real-life DJ duo) AndrewAndrew, dance, and do loads more cocaine in a sweaty, grungy bathroom. Unfortunately, neither of them wound up "staying out til 5 am and one of us definitely punches someone who has been on a Disney channel show."
They did, however, (and by they I mean surprisingly excellent dancer Lena Dunham and the fantastic Andrew Rannells) give one of the best comedic performances in recent memory. Playing high is always a gamble, as it either comes off as way too over-the-top or too gimmicky (think: just about every stoner movie ever) but Rannells and Dunham found the perfect balance. From her irrational high person behavior (she switches shirts with a guy in the club, who just happens to be wearing a mesh tank) to his hysterical reactions and one-liners ("Is this a bank?") it had all the humor and annoyances of watching a high person from the outside.
So it's really too bad it might be the last we see of Elijah/Rannells since a very upset Hannah told him he was moving out after he revealed he slept with Marnie because it ruined her relationship with her. Marnie, meanwhile, was dealing with her own tripped-out, bizarre experience after bumping into first-class pretentious art douchebag Booth Jonathan (The Lonely Island's Jorma Taccone, reviving his role as the sexually confident tool.) Yes, that very same guy that got her to do this, finally got her back to his place. I don't get it. Who hooks up with someone who tells you that you are part of a culture of youth that "is passionate about something and then give up the moment they have to struggle"?
Back at his place she experienced his "best work" (a complete nightmare video installation of graphic images) and sex that was so strange (he kept making her look at a doll and then asked her, with almost no time to spare to answer, if she was on the pill) she couldn't help but burst into laughter when it ended. I honestly think I was more tweaked out by Marnie's storyline than Hannah's. Though, if nothing else, Girls just once again reinforced that the twenties are a long, strange trip whether you're tripping or not.
Not to be outdone, as to be expected, was Hannah, who wound up hooking up with Laird, despite the fact that he'd followed her all night to "protect" her and that she thought he looked like he had leprosy. While the Dunham-penned episodes of Girls tend to be on the more uneven side (not to mention the show tends to work better when it's all four girls, though "The Return" is the exception to the rule) this one was pure comedy. There's a reason it won Best Comedy at the Golden Globes, even if it does scare the living hell out of your parents.
But what really stuck out with this episode is realizing that with this week marking the end of Liz Lemon era, Dunham's Hannah Horvath could be ushering in the new one. No, Liz would never do cocaine, have that much adventurous sex, or be involved in any kind of "hipster nonsense" that Hannah and co. take part in so willingly, when a coked-up Hannah declared that she wants "to get married wearing a veil and… taste like 15 cakes before and I know I said I was against the industrial marriage complex, but thats what I really want", it had traces of "princess" bride Liz from earlier this season. The existence of Girls may just soften the blow of the exit of 30 Rock. Lemon out, Horvath in.
Here are some of the other best moments and line's from "Bad Friend":
- "Ray only wants to watch old episodes of Ally McBeal all night"- Shoshanna, on why she's so tired
- "All the junkies in my building totally hang out by the mailboxes" -Shoshanna, please come back next week
- Hannah's wifi networks have included "muffins are tasty" "madame ovaries"
- "I'll never not have it" - Laird, on his turtle
- While high, Hannah worries about the fact that she can't write a check properly. Elijah's main worry: that someday he'll hopefully get to raise show dogs.
- "It is my greatest dream to have sex with myself, but also my biggest fear"- Hannah
- "She's very rib-y"- Elijah, on having sex with Marnie
- "Her mouth tasted like non-petroleum lip balm and Trident layers"- Elijah, on having sex with Marnie
- "Extremely Loud and Incredibly Loud"- Laird's title for Extremely Loud and Incredibly Close, which Elijah hasn't seen but heard is "so sad"
- This interaction: "When did you eat jerky?" - Elijah, to Hannah after she kissed him…"That is not any concern of yours!"- Hannah. Elijah, please come back next week.
- "We might do coke in front of you, so no more crying"- Hannah's warning to Laird
- "It's a Wednesday night, baby, and I'm alive" - Hannah's declaration to Marnie, right before her other declaration that she is the "good friend" after all, and Marnie is the bad one for intentionally hurting her.
[Photo credit: HBO]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.