October 12, 2008

More on An American Carol . . .

It's still playing at 1600 theaters nationwide, though as Eric observes, they are not necessarily going to be the most convenient theaters in your particular town.

The Wikis put it this way:

An American Carol made $3.8 million in its opening weekend, placing it ninth among movies that week. Since it was shown in 1,639 theaters, it had a per-screen average of $2,325 ($3.8 million divided by 1,639). By comparison, the film's diametrically opposite competitor released around the same time, Religulous,[10] was the tenth-ranked movie, grossing $3.5 million in just 502 theaters, an average of $6,972 per screen.[11] However, the Religulous receipts were collected over a five-day period (the first two days in New York City and Los Angeles only), while those for An American Carol were collected over a three-day period.[12][13]

For its second weekend, An American Carol had a 58.8% drop in box office receipts and dropped to #15, grossing $1,505,000 at 1,621 theaters or $928 per screen. Religious only had a 35.5% drop in box office receipts and dropped to #13, grossing $2,200,000 at 568 theaters or $3,873 per screen.[14]

No word on how many days were covered under "weekend #2" for that second set of numbers.

But the competing ideas go a bit beyond whether Zucker's slapstick is funnier than Maher's . . . whatever it is that he's doing. Neither film is a big-budget flick; neither was meant to be a blockbuster.

If you want a blockbuster these days, you generally give it an anti-American theme rather than an anti-religious one. And you spend a lot of money, and bill it as a serious narrative.

More on An American Carol:

Interview with Greta
A David Zucker Interview
Newsbusters take it up
Suppression?
Enemy Action?
Carol vs. Religulous
Go to Rotten Tomatoes!

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October 11, 2008

An American Carol in The Big Easy!

I just got off the radio with Greta of Kiss My Gumbo, the New Orleans radio show/blog that discusses politics and culture in Louisiana (or, as I call it, "the other L.A."). Greta's show on 790 WIST in New Orleans goes live on-air on Saturday mornings, and as a consummate egomaniac I assume she scheduled it for 9:30 Central just to make her West Coast correspondents get up early.

("Greta! Do you realize what 9:30 a.m. your time means, translated into Pacific Time?"

"I think it's two hours earlier, Joy. That's only 7:30 a.m."

"But you know how I am about mornings!")


We talked about An American Carol, and what a creative challenge that movie must have been for David Zucker, whose usual style is pure slapstick (most famously [infamousy?] in Airplane! and The Naked Gun). Making a film in which anti-Americanism is the target is not the same kind of creative project as those comically scattershot productions, but Zucker found a premise for tying the current story up into a delicious cream puff of pro-military patriotism: what if filmmaker Michael Moore, like Ebeneezer Scrooge in Charles Dickens' "A Christmas Carol," were nudged by supernatural spirits into seeing the error of his ways?

What, indeed?

The film's star is Kevin Farley, who had to gain so much weight to play "Michael Malone" that his family got worried and threatened him with Medical Attention until he confessed what he was up to—just getting ready to spoof an anti-American "documentary" filmmaker who likes to play it fast and loose with the facts.

A lot of the lefty blogs and reviewers have been thrilled to see that An American Carol "only" opened at #9 last weekend. (Because it was "beaten by Beverly Hills Chihuahua," which made more money, but somehow oddly at the same time it was "beaten by Bill Mahar's Religulous," which made less money on opening weekend [and opened at #10] but appeared on more fewer screens. So the methodologies for measuring success depend upon whether one is comparing Zucker's film to a bit of fluff by a smarmy pseudo-libertarian, or a talking dog that opened on many, many more screens than either of the other two movies. Confused? Me too.)

Because we all know that the film industry does not have any sort of leftward tilt; it's all about making money. That's why Mel Gibson had to work so hard and get such creative financing for The Film That Dare Not Speak Its Name—you know: the one that made a fortune, and launched several careers, and yet uniquely, in the history of the film business, kicked ass at the box office while inspiring no imitators whatsoever. Nothing about the lives of the apostles. Nothing about the Old Testament. Nothing about the other characters in the gospels. Instead, a feature version was made of Go, Speed Racer, because one can never go wrong by making a movie based on a television show from the 1960s.

I'm still definitely recommending An American Carol, although one does have to show up a few minutes early, double-check that the theater gave the correct showtime for the movie, and verify the title on the ticket stub, since teenage pranks by cineplex employees seem to have kept a few people away from this movie.

Like the Steve Martin/John Candy classic Planes, Trains, and Automobiles (directed and written by John Hughes, and just as chockablock-full of cameos as Zucker's Carol itself), this movie is that rare beast: a comedy with a real—and important—point to make. So don't be bothered if you can't buy your tickets online, and the movie's name doesn't appear on the marquee outside—just politely confirm with one of the staffers at the cineplex that American Carol is playing there, at such-and-such a time, and get your ticket. (And double-check that the ticket indeed says "An American Carol" on it.)

But please do not be discouraged by having to take a few precautions or spend a few extra minutes to see this film. After all, An American Carol achieved a major release, which never happened to a lot of other well-done films with a center-right take on the issues of the day, such as Indoctrinate U (Evan Coyne Maloney's takedown of bias within academic institutions); Ben Stein's Expelled (a meditation on why we are not allowed to discuss Intelligent Design as part of scientific inquiry—and a peek into the dark side of Darwinist extremism); Mine Your Own Business (a documentary about how those in the developing world are being kept in poverty by environmental True Believers); In the Face of Evil (the story of Ronald Reagan squaring off against totalitarianism), and Is It True What They Say, Ann? (a sympathetic yet irreverent look at Ann Coulter).

There's no conspiracy to keep us out of theaters that are showing An American Carol. There is, however, a grand opportunity for us to go to the movies this weekend without having our love of country insulted, or the military put down in some backhanded fashion.

And we don't have to order it on DVD and wait for it to get to our homes. And we don't have to make our own popcorn when we see it.

If I were you, I'd take advantage. I've done so, and I might just do it again.

UPDATE: The podcast is up!


(X-posted at Right Wing News.)

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October 10, 2008

David Zucker on Larry King Tonight!

So, watch it.

It'll be on at 6:00 p.m. in God's Country, and 9:00 p.m. on the East Coast. You flyover people . . . just do the arithmetic.

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Newsbusters on An American Carol

Yeah, yeah: any pattern is a conspiracy. I've heard it all before.

Once again, we see the long knives sharpened against the right by employing innuendo and outright lies. This time it is against the movie An American Carol. On Tuesday, I reported that there was some concern that ticket sales for the movie were being diverted to other movies at certain theaters across the country. But I never said there was a "conspiracy" to do so.

The filmmakers also attempted to do some detective work to find out the veracity of the claims. But they didn't call it a conspiracy either. Apparently simply asking the question, though, is too much for Wonkette and Huffington Post to handle. They had to gin it up as some wild-eyed claim of a "conspiracy" on our part.

. . . . . . . . . .

In the blog's typical unprofessional style, Wonkette claimed the filmmakers are saying some great, leftist conspiracy is destroying the movie. The next day, an entry at the Huffington Post asserted the same thing. From there the lefty blogs took over to add to the din. Unfortunately for their hyperbole, the movie folks never asserted any such thing (for that matter, neither did I).

In fact, the folks that produced An American Carol went so far as to take down their page offering movie-goers a place to report incorrect ticket sales. I have been told by a spokesman from Mpower pictures that they had no intention of claiming there was some nationwide conspiracy being mounted against their film and that they will not be making any further public comments for the time being.

But there have been reports from many theaters that, among other things, fans have been handed tickets stubs from other movies instead of from the one they came to see. It was the responsible thing to do, in my opinion, to give fans a place to report the matter if they felt they had been one of those defrauded.

The concern here is if individual theaters or their employees were purposefully crediting ticket sales to films other than what should be credited.

. . . . . . . . .

This isn't the first time, though, such a thing has happened to politically charged products. Spike Lee has for decades complained about these sort of things, yet no one is attacking him for saying the same thing. And, we all have heard time and again the reports that books published by conservative radio and TV personalities have been hidden in books stores so that sales are hindered. Rush, Hannity, O'Reilly, they have all seen reports of this sort of thing.

Even so, no one is claiming that the booksellers are secretly conspiring to hinder book sales. What we are saying is that there are many millions of people out there that are not above taking it upon themselves to defraud or hinder the sales of politically charged products like books and movies. This is the case with An American Carol. If lone employees or individual theater owners are pulling a fast one on the film, it should be exposed. But, no one is saying there is some vast left-wing conspiracy going on.

The differences being that if I can't find the book I want at a bookstore, I can simply buy it online, and consuming it will be the same experience. It's very rare for centrist/libertarian films to make it into theaters in the first place; we usually have to buy the DVDs online (as with Mine Your Own Business, about the problem of poverty in Eastern Europe, and how it is exacerbated by misguided Western pseudo-environmentalism), or go to the one venue where something like Indoctrinate U or Expelled will be playing, for one night, in an obscure auditorium right off of Diagon Ally. Wearing hats and dark glasses, lest someone take a picture of us watching one of Those Movies.

I wonder if the limitations on film distribution are related to the fact that revival houses are largely dead: killed by cable TV, VHS tapes, and then DVDs. One used to at least be able to see something that wasn't 100% mainstream at the Fox Theatre, or at the Nuart. Or at one of the Laemmle Theatres. (Okay. Those are still around.)

But doesn't it seem like we're less motivated as a population to go see movies as part of a shared experience in a public square, and more inclined to stay at home, watching films in our little cocoons? I acknowledge that the wine is better, here—and the snacks are cheaper. Also, when one's spouse is in a good mood the movie gets paused whenever I get up to pee—a rare occurrence in a cineplex. Nonetheless, I feel as if something has been lost culturally with the more homogenized fare we're getting in theaters, and the fact that we tend to only see quirky stuff from our overstuffed couches.

Maybe it's just me.

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October 09, 2008

I Dunno.

I really thought that An American Carol delivered the goods, if one were relaxed enough to go with the slapstick flow.

But it's true that an artist is rarely as successful delivering a message versus simply making art for art's sake.

Except for Planes, Trains, and Automobiles. And 1000 Clowns. And Harvey, which did indeed have a point. Of course, that point was, "don't be didactic," which might be more zen than the average person can handle.

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Okay: I'm Hearing More and More Reports of Suppression of An American Carol.

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Enough individual reports are coming in via e-mail that I'm really starting to think that the managers of these cineplexes are either complicit in the actions of their mostly teenaged employees, or that these kids are taking matters into their own hands on a really grand scale:

• People are unable to buy tickets online for this movie, and have to get them at the cineplex itself;

• When one goes to the theater, the name of the movie frequently isn't on the marquee, giving one a sort of "am I at the right place?" moment;

• There are no posters up for the movie at the theater, reinforcing that "wait; was this supposed to be that place across town?" feeling;

• on the sign inside the ticket booth, the movie isn't even listed. This actually happened to me, and I was about to suggest to my husband that we leave, when I saw another couple ask for tickets to the movie--they seemed to be getting them, so I thought, "well, I guess it has to be playing here . . ."

• The second theater in town where the movie was supposedly was playing didn't allow one to pre-purchase tickets, so I called to check on the time. This particular movie house was a four-plex, and I listened to the long outgoing message twice. It gave me all kinds of information I didn't need to know, like how to get to the theater. And it gave me showtimes for three movies--but not An American Carol.

• I'm getting email and comments about people who are being sold the wrong movie tickets. They ask to see An American Carol, and are handed a ticket that they don't look at very closely (how many of us actually read these things when we're trying to figure out whether there's time to get popcorn before we get our seats?). Later on, though, they look at the ticket and see the title of a completely different film.

It's my understanding that this is often done by theater management "by accident" because they get less money for current releases than they do for films that have been in the theater for a few weeks.

But I'm starting to wonder about this: was there some underground communication among the kids who work at these places? It's starting to look like the phenomenon is a lot more widespread than a few days ago, when I just started hearing people ask questions.

Let's try it this way, folks: how many of you went to see An American Carol, and your ticket stub actually had the name of that movie on it?

I know the kinds of kids who work at movie theaters. I worked at two movie theaters when I was in college. I know what the cultural zeitgeist is—hell; I was part of it.

I didn't really believe at first that this was more than isolated incidents, but the appearance here is that there is an active effort underway to suppress box office numbers for An American Carol.

Previous Entries on the American Carol controversy:

Is this Enemy Action? Please Tell Me 'No.'

An American Carol Made More Money Than Religulous.

Mainstream Critics Didn't Like An American Carol; What a Sur-Prize!

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October 08, 2008

Speaking of An American Carol

If you saw it and liked it, create a profile on Rotten Tomatoes and write a quick review with an honest ranking and your reaction to the film. Please!

That site is being overrun with leftists, unfortunately.


* * *


IF YOU DON'T, the proverbial terrorists will have won . . . (Not the real terrorists&mdah;just the ones who are fond of quoting Proverbs. The terrorists that really scare me, though, are the ones who carry the Psalms with 'em wherever they go . . . what's up with that?)


The most important thing, though, is to see An American Carol, and make your mind up for yourself.

UPDATE: Hey, whaddya know?—a lot of the mainstream critics hated it. Here's an article on that phenomenon in PJ Media, and the comments thread is a scream.

UPDATE 2: Following up on the ticket irregulariries post—
Despite my new readers' assurances that no one would actually manipulate ticket sales to make a political point, we certainly know that it's possible. In fact, we know that this is done, though the more-common motivation is plain old greed. This from a person who monitors this type of hijinks:

I do mystery shopping and merchandising, and sometimes I perform movie theater checks. I act as a typical moviegoer, and buy my ticket at the box office. Then I sit in the back of the theater and count the patrons at the moment the movie starts. I scan and email my ticket stubs, so they can verify that the ticket shows the proper movie.

Studios pay me (the company that hires me) to do this because theater owners/managers can and do fudge the ticket sales numbers. If you buy a ticket for a movie that opens this week, the theater sends most of the money to the studio. But if you buy a ticket for a movie in its fourth week, the theater gets to keep much more of the money. Thus, they train ticket sellers to monitor the number sold for the new movie. If it's not sold out, they may print you a ticket for the older movie, figuring that you won't notice. I've watched this being done.

Would they do this to tank a movie that they didn't like? Perhaps. It would likely be on instructions from the manager, and the ticket seller wouldn't know or care why. Ticket sellers are less politically aware than the average bookstore employee, and bookstore employees are known to hide or deny the presence of titles they don't like. But ticket sellers are often teens who are more concerned about the party they're attending after their shift, rather than the political party of the producer.

It could be happening. There's nothing wrong with checking your tickets and reporting any discrepancy to the AC folks.

UPDATE: Since you've been asking—Joy's coverage of potential sabotage to depress the box-office numbers of An American Carol:

http://littlemissattila.mu.nu/archives/275006.php

http://littlemissattila.mu.nu/archives/275114.php

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No One Is Going to Tell You This.

So I will: David Zucker's An American Carol made more moneyon opening weekend than Bill Maher's Religulous did.

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And it did it without resorting to the all Maher's prevarication about religion—the type of falsehoods that made Moore such a fitting subject for satire in the first place. (No, I don't believe Moore actually eats pizza once the mice have gotten into the pizza box. Nor do I believe that he agreed to make a terrorist training video. Nor do I believe that Charlton Heston once made a pro- gun-rights speech in which his tie kept changing color mid-sentence, or that there are banks that will let you take a longarm out the door as a premium on the same day you open a bank account with them—unless you're a famous filmmaker who has somehow convinced them that this sort or "creative re-enactment" will make them look good.)

I'll tell you one more secret: one of the reasons a lot of the reviewers didn't get the humor in An American Carol is that it required a smattering of knowledge about not just American history, but . . . . gulp . . . military culture.

And here's something else: (1) Sarah Palin had a rally in the Golden State on Saturday [tallish place on the West Coast—known for liking movies], which drew thousands of people away from the theaters; before and afterward most of the right-leaning political junkies in the nation have been biting their nails for about ten days wondering if John McCain was going to defend himself on the subject of the economy, or simply let the opposition tie G.W. around his neck like a rather good-natured albatross.

Well, he did and he didn't, and there's tremendous relief out there. There is still nail-biting, because this campaign will be close—and we have another month to go . But now that McCain's exaggerated sense of honor seems to allow for self-defense against the attacks coming from the other side, I think a lot of people may be willing to take a few hours off from the campaign—or take a little time to make a pivotal decision that's now on the horizon.

The one thing every single centrist/center-right person I've talked to about An American Carol has told me is this: it's nice not to be waiting for the other shoe to drop. It's lovely to laugh without wondering when the country's going to be insulted, or the military. You laugh at some jokes, and you don't laugh at others (slapstick being a bit of a scattershot endeavor). But you aren't mentally crossing your arms, wondering when "it" is going to come: the suggestion that we couldn't ever have won Vietnam and shouldn't have tried, the implication that Ronald Reagan was a crazy man who brought us to the brink of nuclear war (while liberating millions of people), the imputation that the Civil War was only about economics, and not slavery. The idea that most military men and women are war criminals, or ready to be.

The obscene absurdity that it is never right to fight back, whatever the provocation.


I hope Religulous stays in the movie houses for a long time, as An American Carol reaches more and more people via word-of-mouth. Because beyond the glamour of opening weekend (and opening at a high-risk time, during a Presidential election), there is the fact that some people in Hollywood have decided that they would actually like to make money. And maybe even make it doing something other than features based on TV series from the 1960s.

Yeah, yeah: I hear you, Guys: "Maher's movie opened on fewer screens, so it made more money per screen." Well, that presupposes An American Carol was credited with every ticket sale it was entitled to, and that it was as easy to find a showtime or tickets for AAC as it was for the other movies that opened last weekend. And it was not.

No, I'm not a conspiracy theorist. But I'm skeptical enough that I'm not going to take the Maher people's numbers (or their reasoning) at face value.

Because there's one more little comparison to be made: Zucker is funny. And Maher, the psuedo-libertarian, really, really isn't. He's just smarmy and smug.

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October 06, 2008

THEATER FRAUD? Sabotage of An American Carol and Its Opening-Week Numbers?

Now this sounds like enemy action.

Help me out here, folks: are these honest mistakes, or is there intent behind them? And how widespread is the problem?


I'm starting to hear complaints about unorthodox treatment of An American Carol by employees of theaters that are carrying the movie. So far, rumors suggest above-average irregularities regarding the handling of this movie in cineplexes and other theaters—particularly as regards ticket sales.

Is the problem systemic, or confined simply to a few (statistically insignificant) theaters in a nationwide release? I'm hearing tremendous curiosity/concern from other centrist/libertarian/center-right movie fans about whether any of these incidents seem to have had some sort of intent behind them.

People are being sold tickets that are supposedly for An American Carol, but have the names of other movies printed on them.

Obviously, this type of "error"/error theoretically requires collusion between employees--a way of marking the ticket so that you are sent to the correct theater, even though you've been sold the wrong ticket. (E.g., if the box office is outside the cineplex, and the person who tells you where your particular mini- theater is happens to be is stationed inside the doors, out of sight of the box office.)

As the customer, you'll want to actually read your ticket to check and make sure you weren't an unwitting instrument of an "error" (or even an error) that inflated another movie's box office numbers and deflated that of the one you had intended to support.


If you suspect that this might have happened when you went to see the movie, please go double-check your tickets. If they have the wrong title on 'em, send me a picture of your "American Carol" ticket.

Here are some subtler things to be on the alert for, in terms of possible attempts to suppress viewership / the appearance of viewership / box office receipts for this film.

Examples:

• The theater suggested that the movie was rated R (its true rating is PG-13);

• Posters for the film are not visible inside or outside the theater;

An American Carol is not on the marquee, even though the movie is playing there;

• The film title not listed behind the clerk in the box office, so you have to ask if that movie is playing at that theater, never mind that you checked on the internet and called in advance (this actually happened to me);

• Showtimes are given on the theater's outgoing message machine for every movie playing except for An American Carol (this is also out of my personal experience: somehow the local four-plex only had showtimes listed on the phoneline for three movies . . . . hm);

• technical oddities: image or focus issues, problems with sound, and the like.


Please check those tickets, check those movie houses where the movie is supposedly playing (but you have to ask about it if you want to see it), and document everything you can. Put those cell-phone cameras to use whenever possible.


UPDATE: The Freepers have it now. So far, I've been skimming through the lefty sites that are linking my allegations about potential fraud and irregularities regarding An American Carol. It appears that their arguments are as follows:

a) If ticket sales are recorded for the wrong movie, it's not significant enough to affect box-office receipts for this particular film, because it isn't happening enough. But it doesn't happen anyway, and I am probably a paranoid schizophrenic for believing that it did.

b) In my original post, I clearly stated that An American Carol would have opened this past weekend in the #1 slot had there not been incorrect recording of box office receipts, and other irregularities at some theaters/cineplexes where the movie is playing. So I'm delusional as well.

c) "We, the left, absolutely hide any books that appear to take a centrist or center-right view whenever we're working at bookstores. Clearly, this indicates that we would never take equivalent action if we got jobs at theaters.

Q.E.D."

(d) "Little Miss Attila has never gone to a movie in her life. Nor has she ever worked at a movie theater. Because, see—the system is different at my local cineplexes than it is at hers. Since we've determined that she's delusional, we cannot trust anything to do with ticket-selling or ticket-taking procedures at her local theaters."

(e) "Little Miss Attila is ugly, so any assertion of fact that she makes is obviously wrong, because ugly people are always incorrect."

(f) "Little Miss Attila is fat. This further underscores the point that no irregularities could possibly be taking place with respect to sales / promotional tactics for An American Carol, because that is also the sort of thing that fat people get wrong. Fat, and old."

(g) "Little Miss Attila owns a gun. Gun owners are always wrong about everything (see 'Palin, Sarah')."


Aw . . . . it's a fair cop!

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An American Carol: Funny Even in NYC

h/t: Hot Air.

So make up for the so-so opening weekend by watching it this week; it'll be less crowded anyway!

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October 05, 2008

Not Good Enough, I'm Afraid. Please See American Carol One More Time This Week.

If you didn't see An American Carol Friday or Saturday night, you may redeem yourself by seeing it tonight.

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If that isn't possible, you must see it within this coming week, because we are not, to say the least kicking ass. (Well, okay: we're officially at #7, but that's hardly what we accomplished with Passion of the Christ.)

Or you will have forfeited any right to complain that "Hollywood" never takes your point of view into account, and never makes movies that don't either overtly or covertly bash the troop.

Perhaps you feel good that Beverly Hills Chihuahua took top honors this weekend? Or that Bill Maher's Religulous made more money on fewer screens?

The movie is not 100% comedy, by the way: there are serious moments. When Jon Voight (who, by the way, spoke at the Palin rally in Carson yesterday) plays George Washington, he plays him 100% straight, and there isn't a laugh in that scene at all: just Michael Malone complaining that the church is dusty, and Washinton opening the doors so one can see the wreckage of the World Trade Center outside.

Because Malone, as the film's "Scrooge," has to have a moment of epiphany. That's when it starts, and the slapstick continues as the truth begins to sink in.

But as with "A Christmas Carol," An American Carol is about redemption.

So redeem yourself. Go see the movie within the week. If you do not, I'll know about it. I've never told any of you this, but I have eyes in the back of my head . . . it looks kind of funny, actually, and I have to be careful about how I comb my hair.

Go. Now. Thxbai.

UPDATE: Let me know if I need to reduce or crop the image; the entry's displaying fine on my browser, but one never knows.

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October 01, 2008

More on An American Carol!

Kevin Farley drops by to see the gals on The View. Elizabeth is wearing a short skirt, and it looks great—so you may watch the clip without fear.

My favorite part? Farley discreetly attempting to gain weight and grow his hair so he could play the "Michael Moore" character, and how his mom was concerned that he must be depressed, and wanted to take him to see the doctor.

I guess they have to ask Farley about his brother—particularly on a show like The View—but there is something awfully offensive to me about the fact that he keeps getting asked about Chris every time he's interviewed.

But them, we've established that I'm way too squeamish to be a real entertainment reporter!


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