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Showing content with the highest reputation on 06/29/2020 in all areas

  1. 4 points
    (((Josh Malina))) @JoshMalina As will historians. 2:09 PM · Jun 29, 2020·Tweetbot for iΟS
  2. 4 points
    Josh Lederman @JoshNBCNews .@jeffmason1 asks @PressSec if Trump has any message for Moscow given the allegations. "No, because he has not been briefed on the matter," McEnany says 1:36 PM · Jun 29, 2020·TweetDeck
  3. 4 points
    Raw Story @RawStory Susan Collins slammed after Brett Kavanaugh votes against women’s rights: ‘Is she distressed or concerned this time?’ Susan Collins slammed after Brett Kavanaugh votes against women’s rights: ‘Is she distressed or... Sen. Susan Collins (R-ME) gave a passionate floor speech in the fall of 2018 where she proclaimed that as a Supreme Court judge, Brett Kavanaugh would vote to uphold existing caselaw about a woman’s... rawstory.com 10:52 AM · Jun 29, 2020·Hootsuite Inc.
  4. 4 points
  5. 3 points
    This is for two actors who were paired together in more than one film but each were successful on their own as well. So this is not for regular comedy teams like Laurel & Hardy or Abbott & Costello. I thought of a few examples with my favorite of their films together, You can comment on the ones I have or list more of your own. Burt Lancaster & Kirk Douglas- Burt was the usually the more strait laced stolid one and Kirk his more roguish partner, but not every time. Favorite-Gunfight At The OK Corral (1957) Boris Karloff & Bela Lugosi- They were usually enemies pitted against each other, Karloff usually the dominant role and Lugosi sometimes a supporting heavy. My favorite is Son Of Frankenstein (1939) the only time they were on the same side, both evil. Boris played the Monster for the last time and Bela was the wily Ygor, who uses the Monster for his revenge schemes. Bing Crosby & Bob Hope-Bing was the laid back crooner who was often a con man who uses his wisecracking, slightly dim friend Bob as the patsy. Favorite-Road To Morocco (1942) Jack Lemmon & Walter Matthau-they were friends or frienemies in their films together, Lemmon was the average guy drawn into a scheme by his more shady friend Matthau. My favorite was The Odd Couple (1968) with Jack as neurotic neat freak and Walter as the grumpy slob. Paul Newman & Robert Redford-two fun loving guys who operate on the other side of the law. Newman was the older more experienced one and Redford the younger more impulsive one. Favorite is The Sting (1973)
  6. 3 points
    Axios @axios NEW: Reddit is banning the controversial subreddit r/The_Donald, one of its largest political communities and a longstanding hub of support for Trump, along with 2000 other subreddits and users that violate new content policies aimed at hate speech. Reddit bans "The_Donald" forum as part of major hate speech purge The message board has been a longtime hub for supporters of President Trump. axios.com 1:02 PM · Jun 29, 2020·TweetDeck
  7. 3 points
    Two other pairings that I can think of that would fit the OP's criteria would be Sydney Greenstreet and Peter Lorre, who appeared in 9 films together, as well as Dennis Morgan and Jack Carson, who made 11 films together.
  8. 3 points
    Helen Kennedy @HelenKennedy Replying to @realDonaldTrump Congratulations! Please ignore all the public polls and keep enjoying the encouraging numbers your staff gives you. 10:28 AM · Jun 29, 2020·Twitter for iPhone
  9. 3 points
    Donald J. Trump @realDonaldTrump Sorry to inform the Do Nothing Democrats, but I am getting VERY GOOD internal Polling Numbers. Just like 2016, the @nytimes Polls are Fake! The @FoxNews Polls are a JOKE! Do you think they will apologize to me & their subscribers AGAIN when I WIN? People want LAW, ORDER & SAFETY! 10:25 AM · Jun 29, 2020·Twitter for iPhone
  10. 3 points
    These guys did four films together: "Silver Streak" (1976), "Stir Crazy" (1980), "See No Evil, Hear No Evil" (1989) and "Another You" (1991). It might have been six if they had co-starred in "Blazing Saddles" (1974) and "Trading Places" (1983).
  11. 3 points
    MSNBC @MSNBC "This has been a false choice all along," economist Paul Krugman says. "We're seeing that premature reopening actually ends up hurting the economy because people will not do business as usual if they know they're going to be at risk of dying if they do." Economist Paul Krugman on fallout of states reopening too soon Coronavirus spikes in states reopening early and the financial fallout are discussed by Nobel Prize-winning economist Paul Krugman in conversation with Joy Reid. msnbc.com 6:32 AM · Jun 29, 2020·SocialFlow
  12. 3 points
  13. 3 points
  14. 3 points
    George Conway @gtconway3d It ain’t gonna happen. He’s not going to quit. He’ll go down and take whoever he can with him first. This is just wishful thinking on the part of people who are starting to realize the consequences of @realDonaldTrump’s psychological decompensation. 3:14 PM · Jun 28, 2020 from Paulsboro, NJ·Twitter for iPhone
  15. 2 points
    Tonight there will be two Robert Bresson films for the Sunday Foreign film spot. Pickpocket appears first at midnight MST, then we have the TCM premiere of Mouchette at 1:30. Here is the Criterion collection essay on the latter by Robert Politio (SPOILERS): Mouchette: Girl, Interrupted “Between thought and expression”—as Lou Reed wrote in the Velvet Underground song “Some Kinda Love”—“lies a lifetime.” Mouchette, and maybe all Robert Bresson’s inexhaustible, majestic films, transpire in that puzzling space “between,” that incalculable “lifetime.” How, for instance, does a director as visually acute as Bresson and so insistent on “the resources of cinematography and the use of the camera to create” also imply the urgency of the unseen, the ineffable, the otherworldly? How does a filmmaker so attentive to metaphysical demands honor the press of our physical existence, whether everyday or tragic? The marvel of Mouchette inheres in the elegance, obstinacy, and capaciousness of Bresson’s double-mindedness. A rape edges into tenderness, suicide emerges as at once holy and appalling, and scene upon scene invokes, simultaneously, spiritual despair and an afterlife. Mouchette (1967) was Bresson’s final black-and-white film before he switched over to color for Une femme douce, in 1969. And there are vestiges throughout of the mournful, formally exacting work he created during the 1950s and 1960s, as well as intuitions of the tonal complexity and even fiercer pessimism that infused his late style. Mouchette herself is at least as solitary as Michel in Pickpocket (1959), and her village proves as claustrophobic as Fontaine’s prison cell in A Man Escaped (1956). Like Diary of a Country Priest (1951), Mouchette tracks hereditary alcoholism in the “malicious” French countryside, and Bresson adapted both movies from novels by Georges Bernanos, a gifted exponent of what he designated “Catholic realism” and also the author of the libretto for the Francis Poulenc opera Dialogues des Carmelites. Shooting on Mouchette started soon after Bresson finished Au hasard Balthazar (1966), and Mouchette seems a combination of the suffering Marie and the donkey, Balthazar, much as the hunting (rabbits) and poaching (partridges) episodes once again analogue human and animal misfortunes. Yet Mouchette registers a departure from early Bresson as much as a summing up. Philosophically, or theologically, suicide no longer arises as inevitably redemptive, as purely (in novelist Dennis Cooper’s tense phrase) “a tragic segue into the comforting delusion of heaven.” Mouchette foretastes the desperate convulsions of Bresson’s last films, The Devil, Probably (1977) and L’argent (1983). There are also prickly cinematic variations and reversals. A distinguishing gesture of A Man Escaped, Pickpocket, and especially Diary of a Country Priest involved the repetition, sometimes the tripling, of an event—we see a close-up of a handwritten notebook page; then listen as a voice-over speaks the words; finally, someone performs the actions we have just heard and read. For Mouchette, Bresson folded this stylistic signature inside out, and instead of reiteration advanced a sort of stutter step, often signaled by a disruption of image and sound. A brief prologue introduces this oblique sound-image design and lodges a story line in the form of a question. The scene, the film in miniature, enacts a riddle of presence and absence. A woman we later recognize as Mouchette’s dying mother abruptly sits before us, crying, talking. “What will become of them without me?” she asks. “I can feel it in my breast. It’s like a stone inside.” The woman rises, but Bresson’s camera, instead of following her, stays fixed on the spot she has just departed, inside—we now discern—a church. Against the vacant frame we hear the loud click-clack of her shoes as she walks away, and then Claudio Monteverdi’s Magnificat. The rest of the film tracks a reply to her tearful inquiry, perhaps her prayer, about the fate of her family, particularly her daughter Mouchette. But on subsequent viewings, after we understand who the woman is and her situation, cruxes still abound. The “stone” indicates her fatal physical illness, yet isn’t the word also emblematic of the adamantine misery that numbs her family, the entire town? Does the empty frame betoken, as the Magnificat hints, her ascent into heaven? Or do empty frames anticipate greater, possibly eternal, emptiness, as the disappearing footsteps suggest? She can’t go on with the world, the prologue further proposes, yet the world can go on without her. Mouchette arranges a disquieting mix of naturalism and disorientation. The vistas of the film look matter-of-factly impoverished, brutal, and desolate, but Bresson recurrently shuns transitions, radiates noises—voices, trucks, a baby—independent of visual sources, and insinuates reactions prior to causes. “The ear goes more toward the within, the eye toward the outer,” Bresson remarks in Notes on a Cinematographer. “The eye (in general) superficial, the ear profound and inventive.” Like her mother, and as if in prediction of her suicide, Mouchette tends to exit the frame before Bresson cuts to the next shot, though from the outset she comes across as earthy rather than ethereal, her body hugging the ground, as when she crouches along a roadside to toss mud at her classmates, stomps her feet in a puddle, grinds dirt into a fancy carpet, or rolls downhill into a pond. In her oversize clogs, Mouchette always seems off-kilter, as Bresson’s strategy of low shots—legs, hands, skirts, shoes—disorders her childhood. Even her time line is unsteady—the music during the bumper-car interlude at the local fair secures a 1960s setting, but inside her destitute house it might as well still be World War II. The coordinates of Mouchette are drinking and male power. Mouchette’s father and brother haul contraband liquor and grimly toast in celebration of their delivery. Alcohol is consumed before and after Sunday worship. The poacher, Arsène, drains his canteen of gin when he rapes her, and his bloody fight with Mathieu, the gamekeeper, dissolves into amiable imbibing. Her mother asks for gin on her deathbed, then warns Mouchette, “Make sure you never get taken in by lazy workmen or drunks.” In his novel, Bernanos links the rape to her other travails as the child of a dipso­maniac: “It was like one of those endless nightmares of uniform horror which, as a real alcoholic’s daughter, she often had to endure throughout a whole night and whose full memory only really came back much later, at supper time, when she had carried it with her all day like an invisible animal attached to her body.” Sexual aggression and masculine bluster infect the countryside like a congenital defect. Early on, some boys expose themselves to Mouchette, and later call her “rat face.” Her father shoves her twice, first into church, and then as she flirts with a young man at the fair. Mathieu trails Arsène not so much for his illegal traps and snares as for their rivalry over Louisa, a dour bartender. There is a mechanical core to this antic, destructive motion—Mouchette’s father keeps on driving after he has collapsed onto his bed, improvising a steering wheel from his cap. The women of the town, too, absorb this lurid poison. “Little ****,” a shopkeeper snaps at Mouchette, observing the telltale scratches on her chest. For Mouchette, love, sex, empathy, service, humiliation, and force are all bound up together. Although a child, she functions as caretaker for her family, yet she is an unseasoned, lackadaisical steward, spilling coffee and milk, and sloppily swaddling her baby brother. Her response to her mother’s death is to fall asleep. Bernanos renders Mouchette’s encounter with Arsène as a continuation of the cruelty she suffers at home: “In her child’s mind, the memory of that violence was somehow mixed with that of many others, and her reason could scarcely distinguish it from her father’s savage beatings.” But Bresson’s bleaker vision here always sees double. He deftly affirms Arsène as an alternative to her domestic violations, as well as their latest installment. Arsène manifestly wishes to protect Mouchette, even as he attacks her. She identifies with Arsène’s troubles and his revolt, hugging him finally while he struggles on top of her. From the drinking to the violence, the strangled birds to the wounded rabbits, Mouchette inscribes a fever dream. Long shots that overwhelm the human actors with landscape play against close-ups that block perspective. Inside and out, there is always a “cyclone,” as Arsène and Mouchette naively tag the storm that agitates their world. Mouchette apprehends her future in the hunted creatures, but also in Louisa’s drudgery, her mother’s sickness, and Arsène’s shame. Her parents, the teacher who yanks her by the neck over to the piano as though she were one of Arsène’s partridges, the old women who demean and mortify her, Mathieu—the figures of ostensible authority are suspect, tainted, their morality indistinguishable from neurosis, terror, and self-delusion. Mouchette twice tries to tell her mother what happened to her with Arsène during her night in the woods, but each time she stops, interrupted by a crying baby and by her mother’s passing. Because of her suicide, Mouchette’s life is another interrupted story—and Bresson doesn’t show us an image of her body entering the water, recording instead the sounds of her splash. The Magnificat returns as the camera lingers over the space that she, like her mother at the start of the film, has now vacated, an empty frame. Once again, we might view this as Mouchette’s release, as a gift, but if her death is akin to grace, Bresson never lets us forget that her suicide is also desperate, pathetic, a dead end,
  16. 2 points
    "Wow, look at those dumb outfits we used to wear!" next
  17. 2 points
    The Family Way (1967) Newlyweds Hayley Mills and Hywel Bennett move into the groom's parents house
  18. 2 points
    Axios @axios NEW: Twitch temporarily bans Trump's channel for hateful content Live-streaming platform Twitch temporarily bans Trump's channel for hateful content The Amazon-owned service said Trump's channel broadcast two videos recently with speeches that violate its rules. axios.com 1:55 PM · Jun 29, 2020·TweetDeck
  19. 2 points
    Kevin Liptak @Kevinliptakcnn White House press sec. concludes a 20-minute briefing with a list of grievances against the NYT. 1:48 PM · Jun 29, 2020·Twitter Web App
  20. 2 points
    Kurt Eichenwald @kurteichenwald Replying to @Yamiche and @PressSec Wow. There are always dissenting opinions. There were dissenting opinions about Iraq/WMD. There were dissenting opinions - that swung back & forth over early days - about Benghazi. If Trumpers want absolute unanimity in intel decisions, we'll have no functioning intel system. 1:39 PM · Jun 29, 2020·Twitter Web App
  21. 2 points
    I always loved the teaming of James Cagney and Humphrey Bogart in all their films together, ANGELS WITH DIRTY FACES, THE OKLAHOMA KID and especially THE ROARING TWENTIES. They were always enemies in all of their movies together and (SPOILER ALERT) Cagney's characters always ended up killing Bogart, exception being THE OKLAHOMA KID. Actually in THE ROARING TWENTIES, they were somewhat allies for a brief period, until it came to a bitter end. Doesn't change the fact that I loved Cagney and Bogart together. Also loved Bogey's teaming with Edward G. Robinson. In all their films together (again SPOILERS) Bogart and Robinson usually ended up killing each other, exception being KEY LARGO where Bogart's Frank McCloud got the best of Robinson's Johnny Rocco and guns him down. The only film where a Bogey character shot and killed a character of Robinson's and was allowed to live in the end. And I like to give a big shout-out to the teaming of Errol Flynn and Alan Hale as well. Hale was Flynn's co-star in many a film, my favorite being Hale's Little John opposite Flynn's Robin Hood in THE ADVENTURES OF ROBIN HOOD.
  22. 2 points
    James Cagney and Pat O'Brien made 9 films together:
  23. 2 points
    That's a good one TB. I have no idea what 1123 is. 1124 I think is "Chained For Life" (1952) 1126 is "The Other" 1972.
  24. 2 points
    The Purchase Price Vivacious Lady Joy in the Morning The Moon's Our Home The Girl From 10th Avenue The Heartbreak Kid With Six You Get Egg Roll The Silver Chord The Long Long Trailer Period of Adjustment
  25. 2 points
    Elizabeth Warren @SenWarren Let’s not lose sight of the bigger picture: after years of industry attacks and GOP opposition, a conservative Supreme Court recognized what we all knew: the @CFPB itself and the law that created it is constitutional. The CFPB is here to stay. 11:05 AM · Jun 29, 2020·Twitter Web App
  26. 2 points
    Axios @axios BREAKING: Supreme Court strikes down Louisiana abortion law Supreme Court strikes down Louisiana abortion law The court's ruling largely leaves the status quo of abortion law unchanged. axios.com 10:14 AM · Jun 29, 2020·TweetDeck
  27. 2 points
    ABC News Politics @ABCPolitics NEW: Speaker Pelosi calls for intel community to brief House on reports Russian intelligence officers offered to pay Taliban-linked militants to target U.S. troops, asking, "was the President briefed, and if not, why not, and why was Congress not briefed." https://abcn.ws/38aDe17 9:56 AM · Jun 29, 2020·SocialFlow
  28. 2 points
    Joy Reid @JoyAnnReid Filed under: you can’t always get what you want 9:56 AM · Jun 29, 2020·Twitter for iPhone
  29. 2 points
    CNN Breaking News @cnnbrk The Rolling Stones have threatened legal action against President Trump's campaign over its use of the band's music at rallies. The band's legal team is working with BMI, the performing rights organization, on the issue. The Rolling Stones tells Trump campaign to stop playing their songs at rallies The Rolling Stones are threatening legal action against President Donald Trump's campaign for using their music at his campaign rallies. cnn.com 1:39 PM · Jun 28, 2020·SocialFlow
  30. 2 points
    I'm assuming you mean that she lacked a natural kookiness onscreen. I think you're right that she sometimes came across as forced in movies, but sometimes that can be at least partially blamed on the quality of the material. I'm thinking in particular of Susan Slept Here (though I know it's now a Christmas favorite around here) and The Tender Trap, both of which had a kind of male-centric smarmy undertone which would never pass muster today. In cases like that the "kookiness" of her character was forced in the script, before she ever uttered a word. Anyway, the point I want to make is that off-screen she seems to have been generally regarded as truly witty and as a great raconteur, with a "natural" kookiness. Dargo mentioned what a great mimic she was and there are many examples on YouTube. I'm sure Carrie was right that her mother could be a trial, but there's no doubt in my mind where Carrie's off-beat, "kooky" humor came from.
  31. 2 points
    Raw Story @RawStory Trump-loving governors who took his COVID-19 advice are ‘in retreat’ as his 2020 campaign stumbles: report Trump-loving governors who took his COVID-19 advice are ‘in retreat’ as his 2020 campaign stumbles:... Governors in multiple states who took President Donald Trump’s advice on reopening their economies as quickly as possible during the COVID-19 pandemic have been forced to reverse course, which... rawstory.com 6:47 AM · Jun 29, 2020·Hootsuite Inc.
  32. 2 points
  33. 2 points
    Jonathan Capehart @CapehartJ Vice President Pence has mastered the breathy earnestness of saying nothing and doing less. 3:17 PM · Jun 28, 2020·TweetDeck
  34. 2 points
    Asha Rangappa @AshaRangappa_ I just need a sanity check: In a normal world by now the GOP would have made clear to Trump that he has no choice but to resign, right? Like if we weren’t living in a hole in the space-time continuum 11:45 PM · Jun 28, 2020·Twitter for iPhone
  35. 2 points
  36. 2 points
    Sweet Sue, played by Joan Shawlee in "Some Like It Hot"
  37. 2 points
    Quintero, Lolita - Linda Darnell in The Mark of Zorro
  38. 2 points
    TCM will also be showing two Jacques Rivette movies in July!
  39. 2 points
    And my biggest complaint about TLFS would be that Welles just doesn't have a leading man presence in order to carry off the Michael O'Hara character. Nope, in my view he should've cast another actor in the role, perhaps John Garfield or Robert Mitchum, but anyone but himself. If anything, he should have cast himself in the role Everett Sloan played or even perhaps the one Glenn Anders played. (...sorry Orson, you should have put your ego aside here and stepped aside so that your soon-to-be ex-wife would've had a better and more interesting foil to play off of)
  40. 2 points
    Home Alone (1990) Kevin's family goes on vacation leaving him behind
  41. 2 points
    Actually, the racist Republicans from the South (Strom Thurmond, etc.) were racist Democrats before they became Republicans. In 1960's, the racist left the Dem Party and joined the Republican Party where they were accepted with open arms. Regardless, today's racists support the Republican Party and the Republican Party supports today's racists.
  42. 1 point
    Raw Story @RawStory #BREAKING Trump received Presidential Daily Briefing on Russian bounty plot: report Trump received Presidential Daily Briefing on Russian bounty plot: report On Monday, CNN reported that President Donald Trump received a presidential daily briefing in the spring including the intelligence assessment that Russia was putting bounties on U.S. troops in... rawstory.com 7:27 PM · Jun 29, 2020·Hootsuite Inc.
  43. 1 point
    They were originally going to co-star in 1982's Hanky Panky, but Pryor left the production, and the role was turned into a female part which went to Gilda Radner.
  44. 1 point
    As for Madonna, Suddenly Seeking Susan didn't require much acting. She showed a lot of bad acting in her videos (Like a Virgin and thinking she is in the same league with Marilyn Monroe); however, the George Harrison (favorite Beatle) produced Shanghai Surprise was a real clunker. One movie I think Audrey Hepburn and William Holden should have turned their backs on is Paris When It Sizzles (think that is the title). Totally ridiculous, especially vampire plot.
  45. 1 point
    1121 is The Whole Town's Talking. Yes. 1122 Probably Andy Hardy, but there were like 20 of those. Unsure if I've seen this particular one. 1125 is Dead Ringer. Yes 1127 is Twins. Sigh. Yes. 1128 I remember this poster, but not the title. I never saw it. 1129 I think The Krays. No. 1130 Twin Falls, Idaho. No. I don't know the others. Only three I'm sure I've seen.
  46. 1 point
    Turner, Paul -- played by Herbert Marshall in FLIGHT FOR FREEDOM (1943)
  47. 1 point
    The Hollywood Reporter @THR Lizzo, Megan Thee Stallion, Blue Ivy Carter among those who set records at the #BETAwards http://thr.cm/vdvcGYT 1:25 AM · Jun 29, 2020·SocialFlow
  48. 1 point
  49. 1 point
  50. 1 point
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