Random Thoughts

UltimateMarvel wrote: Does he have a podcast? I will check out his movie.

I still don't understand how he went from doing Person of Interest to how he is now.

Rusty wrote:He's always been a devout Catholic. Passion of the Christ probably sent him deeper.

He recently did a podcast with Shawn Ryan (former SEAL and CIA operative). I've only watched clips so far. Shawn's had some interesting guests.

WyldeMan wrote:

Holy shit, Shawn Ryan and Caviezel? That must be a weird listen cause both those fuckers are crazy.

Rusty wrote:

WyldeMan wrote:

Holy shit, Shawn Ryan and Caviezel? That must be a weird listen cause both those fuckers are crazy.

Just to be clear, that's Shawn Ryan the former Navy SEAL, not Shawn Ryan the creator of The Shield

Rusty wrote:There's been some Jamie Foxx sightings.

WyldeMan wrote:

Rusty wrote:There's been some Jamie Foxx sightings.

He was walking but didn't talk to anybody. That's progress.

Rusty wrote:

WyldeMan wrote:

Rusty wrote:There's been some Jamie Foxx sightings.

He was walking but didn't talk to anybody. That's progress.

There also video of him at a Top Golf hitting a golf ball, so they're doing the "look he's fine" tour.

Rusty wrote:lol holy fuck that's cold. To be expected when the little money takes on the big money.

SAG-AFTRA President Fran Drescher is mad as hell and she’s not going to take it anymore.

In announcing that SAG-AFTRA had authorized a strike Thursday — “the largest strike authorization vote in our union’s history,” she said — Drescher gave an impassioned, five-minute speech that condemned the Alliance of Motion Picture and Television Producers (AMPTP) for being on the wrong side of history.

Read her statement in full below:

“It’s really important that this negotiation be covered because the eyes of the world — particularly, the eyes of labor — are upon us. What happens here is important because what’s happening to us is happening across all fields of labor. By means of when employers make Wall Street and greed their priority, and they forget about the essential contributors that make the machine run.

We have a problem, and we are experiencing that, right at this very moment. This is a very seminal hour for us. I went in in earnest, thinking that we would be able to avert a strike. The gravity of this move is not lost on me, or our negotiating committee, or our board members who have voted unanimously to proceed with a strike. It’s a very serious thing that impacts thousands, if not millions of people, all across this country and around the world. Not only members of this union, but people who work in other industries that service the people who work in this industry.

It came with great sadness that we came to this crossroads, but we had no choice. We are the victims here. We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly, how far apart we are on so many things; how they plead poverty, that they’re losing money left and right when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them! They stand on the wrong side of history at this very moment.

We stand in solidarity, in unprecedented unity — our union, and our sister unions. Unions around the world are standing by us, as well as other labor unions. Because at some point, the jig is up. You cannot keep being dwindled and marginalized, and disrespected and dishonored. The entire business model has been changed by streaming, digital, A.I.

This is a moment of history that is a moment of truth. If we don’t stand tall right now, we are all going to be in trouble. We are all going to be in jeopardy of being replaced by machines and big business, who cares more about Wall Street than you and your family. Most Americans don’t have more than $500 in an emergency. This is a very big deal, and it weighed heavy on us, but at some point, you have to say no, we’re not going to take this anymore. You people are crazy! What are you doing? Why are you doing this? Privately, they all say that we’re the center of the wheel — that everybody else tinkers around our artistry — but actions speak louder than words. And there was nothing there. It was insulting! So we came together in strength, and solidarity, and unity, with the largest strike authorization vote in our union’s history, and we made the hard decision that we tell you, as we stand before you today. This is major. This is really serious. And it’s going to impact every single person that is in labor. We are fortunate enough to be in a country right now that is labor friendly — and yet, we were facing opposition that was so labor unfriendly, so tone deaf to what we are saying.

You cannot change the business model as much as it has changed, and not expect the contract to change, too. We’re not going to keep doing incremental changes on a contract that no longer honors what is happening right now, with this business model that was foisted upon us. What are we doing? Moving around furniture on the Titanic? It’s crazy. So the jig is up, AMPTP! We stand tall. You have to wake up and smell the coffee. We are labor and we stand tall, and we demand respect, and to be honored for our contribution. You share the wealth because you cannot exist without us.”

The strike will commence Thursday at midnight PT.

Rob McElhenney is opening up about his health and saying he was diagnosed with “neurodevelopmental disorders and learning disabilities.”

The It’s Always Sunny in Philadelphia actor said he will be going into detail about the diagnosis and prognosis during an upcoming episode of The Always Sunny Podcast which drops new episodes every Monday and that he co-hosts with Charlie Day and Glenn Howerton.

“I was recently diagnosed with a host of neurodevelopmental disorders and learning disabilities! At 46!” the actor tweeted.

He added, “It’s not something I would normally talk about publicly but I figured there are others who struggle with similar things and I wanted to remind you that you’re not alone. You’re not stupid. You’re not ‘bad.’ It might feel that way sometimes. But it’s not true.”

Neurodevelopmental disorders are conditions that affect brain functions and according to Dignity Health, “they range from mild impairments” which allow “those affected to live fairly normal lives, to severe disorders that require lifelong care.”

Some disorders include ADHD, speech and language disorders, Tourette syndrome, schizophrenia and autism.

McElhenney is best known for his role of Ronald “Mac” McDonald from the FX sitcom It’s Always Sunny in Philadelphia, a show he created and co-developed with Glenn Howerton. The actor also stars in the Apple TV+ series Mythic Quest, which he co-created with Day and Megan Ganz.

Aside from acting, McElhenney became co-owner of the Welsh soccer team Wrexham A.F.C. alongside Ryan Reynolds. McElhenney also serves as an executive producer of the documentary Welcome to Wrexham which follows the soccer club as they attempt to ascend in their league.

UltimateMarvel wrote:Damn! Nothing makes sense anymore. We'll see what the real numbers are. Didn't they project The Flash to open big too? Look how that went.

Tyger wrote:I kind of think people at WB wanted The Flash to fail by the end. There were a LOT of advance screenings over 2 weeks before the movie was officially released.

I actually think Barbie is going to be funny, going on Saturday morning.

Krapopolis finally has a premiere date. Watch the trailer above.

The Dan Harmon-created animated series will launch on Sunday, September 24, on Fox. It will launch with a special two-episode preview following the NFL doubleheader on the network.

Krapopolis then will become part of the network’s Animation Domination block from Sunday, October 1, where it will air at 8:30 p.m. after The Simpsons and before Bob’s Burgers and Family Guy.

This comes after the series scored a third-season renewal before a frame of the toon has been seen by the viewing public.

Fox previously shifted Krapopolis to the 2023-24 season, shaking up its plans to premiere the series in a four-episode, two-hour block in May.

Krapopolis has had a very long gestation period. Harmon signed a direct deal with the broadcast network in July 2020 with a series commitment. In February 2021, the then-untitled show was handed a formal series order, making it its first fully owned animated series. A special preview of the show, which was handed a second-season renewal in October 2022, was originally set for November 2022 but was delayed with Welcome to Flatch taking its place after an NFL doubleheader.

Then, the series was planned to launch in May alongside shows such as Jon Hamm-voiced Grimsburg and the second season of Housebroken.

However, it now will move to next season.

Krapopolis is set in mythical ancient Greece and tells the story of a dysfunctional family of humans, gods and monsters that try their hand at running the world’s first cities – without trying to kill one another, that is. The series features the voices of Hannah Waddingham, Richard Ayoade, Matt Berry, Pam Murphy and Duncan Trussell.

Ayoade voices Tyrannis, the mortal son of a goddess. He’s the benevolent King of Krapopolis, trying to make do in a city that lives up to its name. Waddingham plays Deliria, Tyrannis’ mother, goddess of self-destruction and questionable choices. Within her extended Olympian family – forged in patricide and infidelity – she’s known as the trashy one. Berry is Shlub, Tyrannis’ father, a mantitaur – half centaur (horse + human), half manticore (lion + human + scorpion). He is oversexed and underemployed, claims to be an artist and has literally never paid for anything, in any sense of that word, for his entire life. Murphy voices Stupendous, Tyrannis’ half-sister, daughter of Deliria and a cyclops. Trussell plays Hippocampus, Tyrannis’ half-brother, offspring of Shlub and a mermaid, and, obviously, a hot mess, biologically speaking.

Alanna Ubach is recurring, with Susan Sarandon, Will Forte, Michael Urie, Jane Lynch, Amber Stevens West, Yvette Nicole Brown and Dave Franco as guest stars.

Created and exec produced by Rick and Morty co-creator Harmon, the series is produced by Fox’s Bento Box Entertainment. Jordan Young serves as showrunner for the first season and exec producer with Alex Rubens as showrunner for Seasons 2 and 3.

WyldeMan wrote:Did you guys know that Christopher Nolan and Jonathan Nolan have another brother called Matthew Nolan who was a hit man????? Matthew Nolan started in real estate and eventually ended up a bag man for dangerous criminals and he went to prison for beating and torturing a US financier to death in the mid 2000s. He then tried to McGuyver his way out of the prison before being caught again. However, apparently his outcome after his escape is not public knowledge and neither Chris nor Jonathan have ever publicly commented on it.

So Christopher Nolan's brother was a hitman and the absolute best part of this entire story? Because he was trying to con a man involved in the diamond trade, Matthew gave the name "Matthew Oppenheimer" to the man he was accused of murdering..... 

Matthew claimed to be the heir to the Oppenheimer fortune and his brother just made a movie about the man...

On July 13, as SAG-AFTRA leadership declared the union was going on strike, SAG-AFTRA Foundation president Courtney B. Vance and executive director Cyd Wilson drafted a letter to 2,700 of the union’s highest-earning actors outlining the financial need that many would face in the work stoppage.

“Having been through this during COVID and having such a great response from our own membership to take care of their own, when the strike was decided, Courtney and I sat down with our team and said, ‘Here we go again,'” Wilson tells Variety.

During the COVID-19 pandemic, the SAG-AFTRA Foundation (a non-profit organization associated with the union, but not part of it) worked to provide financial relief to many of the union’s 160,000 members via the foundation’s Emergency Financial Assistance Program, which will again be used to help actors during the strike.

“We rely on donations and grants to provide services — we have been very fortunate that we raised enough money to be able to cover all of our programs,” Wilson explains. “But when we hit a crisis like this and we’re going to spend millions and millions of dollars in financial assistance, this is when we need our high profile talent who can afford it, who are in a situation to help others.”

Shortly after sending the letter, Dwayne Johnson’s team reached out to say he wanted to help, so he and Vance hopped on a phone call.

“It was a love fest. It’s like, ‘Man, you’re stepping up in a way that is allowing others to know the dire necessity of it,'” Vance told Johnson about his contribution to the fund, noting that the exact sum is being kept confidential, but he was heartened by the A-lister’s generosity. “This is him saying, ‘In such a time as this, I’m here and I’m not going anywhere, whatever you need me to do.’ And that sends a huge message to other folks to do the same thing.”

Wilson explains that the SAG-AFTRA Foundation’s grants deliver up to $1,500 per individual member, but in extreme conditions where there are health issues or other situations that indicate an actor is in serious jeopardy, a lifetime member can receive up to $6,000 in emergency financial assistance. Thus, Johnson’s seven-figure donation has the potential to aid thousands of actors. (Wilson estimates between 7,000 to 10,000 members will need these services.)

“It is a call to arms for all of us to know that we just have to step up however you can,” Vance adds. “If your step up is $10, step up. Because that $10 is going to help somebody. If it’s $10,000, if it’s $10 million, step up, because we have to. Everyone knows what happens when you go on strike, when you stand for something — as the saying goes, if you don’t stand for something, you’ll fall for everything — you can’t stand unless you have support underneath you, on the side, up top and up front. So Dwayne is letting everyone know, ‘I’m here. What are you going to do?'”

In an interview with Variety, Vance and Wilson discuss the financial crisis facing working actors and the impact of Johnson’s sizable donation in helping to support them.

What have the last 10 days been like since SAG-AFTRA members joined the picket lines in respect to the foundation’s efforts?

Vance: We’ve been doing this since 1985, for 40 years, this is what we do. Our mandate and our mission is to be able to help members in times of need and crisis times financially — for their medical bills, their rents, their mortgages and their food. And that’s where we find ourselves once again. They’re on the picket lines, but they still have to be able to pay for things. The union is on the front lines with Fran Drescher doing what they need to do.

How has the financial need during the strike compared to the requests that you saw over these last three years with COVID?

Wilson: It’s very similar. Although SAG-AFTRA didn’t strike until 10 days ago, many of our actors’ productions were shut down during the writers strike, so they’ve already been affected since May and we’ve seen an uptick in the number of requests that come in. We’re processing probably five to 10 times (of the requests for financial aid) that we would normally process in a week and think that is going to continue to increase.

We’re in this for the long haul and we have to be concerned that even when the strike is over, that doesn’t mean that people haven’t still been left decimated. We have members that obviously need a roof over their head and food on their tables, but we also have members who are in financial crisis that doesn’t have anything to do with strike.

Vance: And it’s compounded by the fact that we’re just coming through COVID. So these folks were just feeling able to get their head above water, and now they don’t know what’s happening. “Are we going to sink back? And how long is this going to go on?” We’re alluding to the mental and emotional state of people’s situations, which dovetails us to Dwayne heeding the call that went out and seeing the devastation that happened during COVID and the potential devastation that is happening now. He stepped up in a major, historic way to help us because he’s one of us. We support our own.

I hope this is not going to be a long period like the COVID situation was, but no matter how long it goes on — even a week is too long for our membership — what Dwayne did and others like him are doing is to let membership know, “We’ve got you. You’re not going to sink.”

There’s been a graphic that’s been widely shared that says 87% of the SAG-AFTRA membership does not reach the threshold of making $26,000 a year from SAG-AFTRA jobs to qualify for health insurance — what does that say about the need many people are facing?

Wilson: The general public might think that all actors make millions of dollars, and there are some that do but it’s a very small percentage. But those actors who then go on to win Oscars and have huge success could not make those films and those television projects without hundreds of actors who are behind in the background sitting in the restaurant, that have those bit parts that paint the picture, so that the stories can be told. Our stars understand that they cannot make a film without these people. Having said that, as you’re saying these people are making, you know, not enough money to even afford their health care. So the majority of our actors are also have second and third jobs — they’re waiting tables, catering, driving Uber. It may not seem like a lot, but when you miss $1,000 to $3,000 a month that you would normally from a work stoppage, that can be a financial ruin.

How did you react when you learned of Johnson’s donation?

Wilson: It’s the largest single donation that we’ve ever received from one individual at one time. And what is amazing is that that one check is going to help thousands of actors keep food on their table, and keep their kids safe, and keep their cars running. And it’s not lost on me that he’s very humble about this, but it is a way to get us started.

This is how we did this during COVID — some of the biggest stars in our industry stepped up. For him to step up like this is really going to get us started in the fundraising that we’re going I need to do, because everything we’re hearing and seeing, we feel we have to be prepared that this could go on through the end of the year. We’re going to have to be able to help these people in the long run. We have 160,000 SAG-AFTRA performers and that’s a lot of people that are going to need our help. This donation is the kickstart we needed in the first week of what we think will be a long haul.

Vance: When people are in crisis, people step up. It’s that “Field of Dreams” statement, “Build it and they will come.” You have to set it up for people to recognize what the situation is and that’s, I think, why people are giving in the amounts and in the ways that they’re giving. Because people recognize, “That could be me that can’t pay my medical bills” or “That’s my children that have school bills coming up and I’m not working.” 95% of the folks in our industry don’t work regularly; we recognize that.

All that we’re doing is about folks who are on those picket lines and letting the powers that be know that we’re here, we’re not going anywhere, we deserve better and won’t settle for less. So I’m grateful to our membership; I’m grateful to our leaders in our organization; I’m grateful to the leaders in the union — Fran Drescher and the negotiating committee. We’ll get there, it’s gonna take a minute but we’re gonna get there.

I want to thank Dwayne for his tremendous generosity, compassion, and initiative to step up in this significant and meaningful way for our community. On behalf of the thousands who will be helped by his historic donation, thank you, thank you, thank you.

WyldeMan wrote:

Tyger wrote:I kind of think people at WB wanted The Flash to fail by the end. There were a LOT of advance screenings over 2 weeks before the movie was officially released.

I actually think Barbie is going to be funny, going on Saturday morning.

The Flash deserved to fail, it was an abomination. I can't believe they worked on that movie since 2014 and that steaming pile of shit totally devoid of heart was the best they could do. ChatGPT couldn't have done any worse!!!! I would have shelved it like Batgirl so that it'd never seen the light of day. Ironic because if they had written it off, they wouldn't have lost nearly as much as they did...

Meanwhile, Barbie has the most ticket presales of any film since Avatar: The Way of Water, beating out 2023’s only billion dollar movie to date,  The Super Mario Bros. Movie.

Do you go to the movies every weekend now Tyger cause it seems like you're the first of us to see every movie every time.

I haven't seen a Will Ferrell movie since Get Hard but I hadn't realized his career had gone from leading man to a Barbie movie bad guy?  I just looked through his filmography and I haven't seen or even heard of most of what he's done over the last decade. I always enjoyed his comedies but I hadn't even realized that I'd only been watching his older stuff for so long that I hadn't seen anything new in ten years.

But seriously, what the fuck happened to Will Ferrell's career? Earlier this week I watched Anchorman and Semi-Pro and was thinking I needed to catch up on Ferrell's catalog.

I wonder if this Barbie role will return him to the main stream again...

Astounding $26 million Tuesday for Barbie, breaking $200M mark in just 5 days! Biggest Tuesday gross in studio history for WB, beating $22M Christmas for Aquaman.

Domestic box office for Barbie now stands at $214.1 million.

When the history of movies in the age of streaming, COVID and the first double strike since 1960 is written, the day of July 21, 2023, will go down as the rare date that’s actually remembered as a box-office landmark. For that was the day that Hollywood dropped two blockbuster weapons — one pink, the other dark — both of which hit their target audiences and went boom.

A downside of our franchise culture is that even when movies become big hits, their appeal often boils down to a basic expression of mass taste engineered by market forces. Look, the “Jurassic Park” concept worked again. Shocking! The “Mission: Impossible” series has a wild card tucked into its gamesmanship (you’re not going to get AI to do what Tom Cruise does on a motorcycle), but once you look past Cruise’s stunt mojo, even the perfectly decent new “M:I” installment has been greeted by critics as “the best action film of the summer.” That made me think: Aren’t the “Mission: Impossible” movies supposed to be more than action films? We’ve got “Fast XXV: Fuel-Injected Diesel” for that.

Which brings me to those pink and dark hit weapons. You could say that “Barbie,” by tapping into the appeal of the most famous doll of the 20th century, takes off from as iron-clad a piece of IP as any movie ever has. You could say, “Okay, great, it made $155 million in three days — but a Barbie movie was always going to have a built-in audience.” Except that imagine if “Barbie” had been made in a standard way, by a standard filmmaker; it could easily have been a “Smurf” movie with better clothes. “Barbie” may be legendary IP, but the idea of a movie about Barbie, Ken and all their friends is not exactly a concept that lends itself to human dimensions (or to entertaining qualities as a movie for anyone over the age of 12).

For that, you need a filmmaker like Greta Gerwig, who summoned the industry power and the pop vision to transform “Barbie” into an exuberant jokey carnival of fourth-wall-breaking doll’s-house-as-rabbit-hole feminist surrealism — a candy-colored Dreamhouse burlesque that adores Barbie and resents her at the same time, that tweaks the patriarchy even as it treats Ken as the film’s most complicated character, and that has the wit to recognize that Barbie isn’t just a plaything, she’s a metaphysical projection of feminine ideals who also has the effect of undermining who women are.

That’s a lot to unpack in a movie about a doll, but here’s the point: Did Greta Gerwig simply sneak all that stuff into a Mattel movie that can still function perfectly well as a piece of product that’s moving even more product off the shelves? Or did her playful subversive sensibility take a movie that was probably destined to be successful and turn it into something twice as successful? The buzz leading up to the release of “Barbie” was off the hook. I haven’t felt that level of anticipation since the era when the thrill wasn’t yet gone from “Star Wars” movies. And I’d argue that even though most of the people eager to see the film may not have known, going in, who Greta Gerwig was (though they will now), they picked up on what the Greta Gerwig-ness of the whole enterprise meant: that this was not going to be a cookie-cutter Barbie movie, that it was going to be a bowl of very spiked punch. It was going to be a movie that surprised you. It’s that essential quality, not just the IP, that could make “Barbie” the biggest movie of 2023.

As an act of counterprogramming, the simultaneous release of “Barbie” and “Oppenheimer” plays like someone’s idea of a cosmic joke. It’s not just that the two films make a perfect pair in their staggering lack of aesthetic and demographic overlap. It’s that glommed together into the greater-than-the-sum-of-the-parts entity known as “Barbenheimer,” the two movies seem to express the yin and yang of the 21st-century world. As a culture, we’re as serious as the atom bomb and as superficial as Barbie — and we take our superficial playthings deadly seriously. If the box-office triumph of “Barbie” sends a crucial signal that inviting a gifted filmmaker to revel in the power of her idiosyncrasy works as a commercial proposition, the box-office triumph of “Oppenheimer” sends a different signal, reminding us that we still live in a heady and sober culture, one in which a three-hour talkfest meditation on the meaning of J. Robert Oppenheimer, the father of the atom bomb, can seize audiences the way the movies of the ’70s or ’90s used to.

Christopher Nolan is certainly a director with a built-in fan base. But it’s worth noting what the Nolan brand represents: filmmaking as an adventure into the unknown, as a movie you go to a theater to watch, as an experience that’s larger than life, that’s vastly bigger than you. The promise of “Oppenheimer,” and what I think is luring people out to see it in even greater numbers than expected, is that the film won’t just be a biopic about the man who spearheaded the creation of nuclear weapons. It will be a movie about all of us, about what the creation of nuclear weapons did to us. That’s one reason you want to see “Oppenheimer” with an audience. IMAX, if you experience the film in that form, means a big screen, but the ultimate big screen is the collective consciousness of everyone in the theater.

These two movies, with nothing in common except the power and passion that got each of them made, have arrived at the perfect moment in our perfect storm of entertainment-industry meltdown. Long after their theatrical runs are over, “Barbenheimer” will stand as a touchstone that can remind everyone why we go to the movies: not just to relive some old IP but to dive into a vision, to live life for two hours (or maybe three) in the grip of an artist. There’s a lesson here, apart from buzzy fireworks of success, that the industry needs to remember and embrace. The lesson is that all of this works only when we give artists the license to follow their muse, to express the excitement of what’s in their soul. Everything else is just algorithms.

Source: Variety

Rusty wrote:Disney has announced they're no longer releasing physical media in Australia. Guardians of the Galaxy 3 will be the final product. From then on it's digital only.

The US is safe, for now.

WyldeMan wrote:

Rusty wrote:Disney has announced they're no longer releasing physical media in Australia. Guardians of the Galaxy 3 will be the final product. From then on it's digital only.

The US is safe, for now.

Oh damn....I hadn't heard about this. Why was Australia singled out?

Rusty wrote:Blu-Ray and UHD discs never really caught on here. It was slow to roll out with a lot of local distributors not willing to invest in it due to the limited consumer base, usually just sticking to DVD. The slow role out of Full HD and even 4K TV's didn't help much.

I've been in a retail store and heard a salesperson trying to sell someone a 4K TV, that upgrading to Blu-Ray wasn't worth it. That they and DVD were "basically the same", and that the TV would make up for any differences.

We are a big country with a small population (not small enough if you ask me). To put it in to perspective, Australia's land mass is almost 20 times larger than California, yet we have over 10 million fewer people.

Consumer technology here, in one way or another, is usually a generation behind the US, and maybe half a generation behind Europe. And I'm talking generation in technology years, not human years . Take 4K TV's for example. What we're getting as "latest new gen", is what you guys have on massive clearance because it's just been superseded. We're always a year or two behind.

Edit: I'll clarify a bit by saying, because of the meandering roll-out off tech post DVD: Full HD, Blu-Ray, 4K etc, Australia essentially went from DVD, two/three years of confusion, to Netflix streaming.

Another significant part in all of this is, for the longest time, we would get movies/TV shows, 6-12 months after the US. I could buy the DVD for a movie from the US, before it even had it's theatrical premiere here in Australia. Being so far from everywhere, for so long we were always the last stop on the press tour (if they bothered to stop at all) .

WyldeMan wrote:

I should have figured it was something along those lines...

At this point though I feel like I gotta ask, are there positives to living in Australia? Cause I don't know if you've ever given one in all the years we've been chatting.

Next you're gonna tell me that weed is still illegal and you can only find porn on VHS.

WyldeMan wrote:At this point though I feel like I gotta ask, are there positives to living in Australia? Cause I don't know if you've ever given one in all the years we've been chatting.

Rusty wrote:Porn is readily available

UltimateMarvel wrote:

WyldeMan wrote:At this point though I feel like I gotta ask, are there positives to living in Australia? Cause I don't know if you've ever given one in all the years we've been chatting.

Allow me to answer this Russ......THE WOMEN!!!!!

Warner Bros’ Barbie continued to show its prowess this weekend worldwide, riding a wave of hot pink fun, savvy marketing and sincere message to a powerful $774.5M global through Sunday.

WyldeMan wrote:

Thoughts on Strays?

WyldeMan wrote:HOLY SHIT!!!! I'm just happy that Robbie and Ferrell have a bonafide hit here, their careers both needed this so bad and it certainly can't hurt Gosling's any.

Warner Bros’ Barbie continued to show its prowess this weekend worldwide, riding a wave of hot pink fun, savvy marketing and sincere message to a powerful $774.5M global through Sunday.