Viraldice

Undeterred by fan outrage, Kelly Dodd has been saying whatever she wants about the pandemic. And her abhorrent bad takes continue.

Over the weekend, she took aim at heartfelt protests throughout the nation ... calling the gatherings "terrorism on our land."

Not everyone had protests in their cities over the weekend. Not everyone who had them nearby could attend.

We are, after all, still in the midst of a pandemic.

More or less everyone was watching coverage -- either in real time from livestreams on social media, or on various news sources.

Kelly was tuning into Fox News over the weekend for some tone deaf fawning over her fiance, Rick Leventhal.

We don't hold horniness against anyone, but Kelly recorded herself practically drooling over Rick while he reported on the protests.

Protests during which people have been beaten, attacked, and fired upon by escalating police violence.

Tear gas has been fired at peaceful crowds. Children have been pepper sprayed in the face.

A photojournalist was shot by some sort of police pellet and lost her eye while simply covering the protest. And Kelly's here being horny on main.

Unfortunately, when Rick got home from work, Kelly once again took to her Instagram Stories.

This time, he was showing Kelly footage on his phone, which Kelly recorded on her own.

It was of a group of journalists, including one of his buddies, being hassled by protesters in Washington D.C.

While it's totally understandable for a person to be concerned for their friend or colleague, Kelly's commentary was a little alarming.

"Look at these guys," Kelly narrates as she records Rick's phone footage. "You can't even have media."

"These people are losing their minds," it sounds like she comments. "Oh my God."

"This is America," Kelly says.

"This is terrorism on our land," she proclaims.

"It's horrible behavior," Rick accuses. "It's so far from civilized."

We can't say that we condone taking someone's microphone or sprinkling droplets of water on journalists.

And yes, some people who work for Fox News are genuine journalists, even if their coverage is often then skewed by millionaire pundits.

But we would hope that Kelly is aware that many journalists were actually injured over the weekend.

In addition to bystanders, pelted with rubber bullets or hit with paint rounds simply for sitting on their porches, journalists were also attacked.

We all saw the coverage of CNN's correspondent Omar Jimenez who was arrested on Friday on live TV during coverage.

What Kelly may not have seen if she is getting all of her news from Rick is how many journalists were injured and arrested over the weekend.

It seems that when militarized police are determined to escalate a situation, a press badge is no shield against batons and chemical weapons.

If Kelly is aware of these events and more, she did not choose to record herself watching the coverage or to share it.

She did, however, share a video on Sunday night featuring an embarrassed Jolie, her teenage daughter, watching with her.

Kelly once again condemned looting, talking about it with Jolie and asserting that "morals" make the difference.

At times during the video, some fans perceived her to be slurring her words.

Kelly Dodd either hasn't seen or has chosen to ignore things like footage of police cruisers plowing into protesters.

She has also not said anything about suspicious incidents like unidentified white men arriving, smashing windows, and then leaving.

Instead, she seems determined to focus upon a minority of protesters who engage in looting.

But just because Kelly is rich and aggressively out of touch doesn't mean that she cannot learn.

For example, the blackout of Washington DC's mobile phone service on Monday morning is raising international alarm..

Perhaps that will catch Kelly's attention. Or perhaps one of her friends will explain to her what is happening.

People are protesting nationwide against ongoing police violence against black Americans, violence that resulted in the murder of George Floyd.

If Kelly wants to have any fans left, she may want to learn a little about world events before she comments on them. Kelly's smart! She can do that if she wants to.

Little People, Big World...

... murky future.

With this beloved TLC series having wrapped up yet another season just a couple weeks ago, fans around the country are now constantly refreshing their Internet browsers and asking the following question:

Will the show be renewed for 2021?

Before answering this question, or at least attempting too, we must begin with a caveat:

It's nearly impossible to predict anything about the future of television amid this novel coronovirus pandemic.

Every production in Hollywood has been shut down in understandable response to this outbreak and there's simply no way of knowing when filming on programs will resume.

And this is just for shows that have already been picked up, of course.

TLC has not yet made this announcement when it comes to Little People, Big World.

Which, to be clear, is perfectly normal for this series.

It almost always films through the end of the summer right until pumpkin season, which takes place in October and which gives the network plenty of time before it needs to make a decision about the program's future.

But who wants too wait? Let's speculate, shall we?!?

WHY MIGHT THE SHOW COME BACK?

One major reason, to be blunt? Because it's cheap.

This is why reality shows are so appealing across the dial: networks barely need to worry about a travel budget for a series that films on just a few locales; and the salaries for these "actors" almost always pale in comparison to the salaries of actors without the quotation marks.

Also, no writing room, no need to hire an expensive director, etc.

Little People, Big World also stands a decent shot at renewal because there are a few obvious storylines to follow on an upcoming season.

Tori and Zach Roloff welcomed a baby toward the end of November, meaning they are now adjusting to life with a pair of young kids at home.

Amy Roloff, for part, is engaged to Chris Marek and planning a 2021 wedding that would provide the show with plenty of fodder.

As for the ratings? It's difficult to find this sort of information, but Little People, Big World was the 29th ranked series among 18-49-year olds for the week of May 18, 2020.

It remains popular, that's for sure, especially when you consider the cast members' social media presence.

WHY MIGHT THE SHOW NOT COME BACK?

Because of Matt Roloff, basically?

The father of four has hinted on multiple occasions that he may be ready to sell the farm and move to Arizona full-time.

He also talked more openly this year than ever before about how Little People, Big World is edited and scripted, a rather huge admission that he may have been hesitant to make it he planned on a return.

He wouldn't have wanted to anger the producers, you know?

It's also worth noting that even if Little People, Big World itself is canceled, there's actually been talk of a spinoff.

Matt could essentially retire to Arizona and cameras could then follow only Amy and Chris around as they make wedding plans -- such a concept has been the basis for quite a few reality shows over the years.

Or how about this wild idea:

Audrey and Jeremy Roloff buy the family farm off their dad and become the subject of their very own series?!?

At this point, for reasons that center around the real world (Covid-19) and the entertainment world (it's simply too early in the schedule), there's no way of knowing the future.

But if you want our education opinion, we'd say that Little People, Big World returns in the spring of 2021.

That's only a guess, mind you.

Thankfully, however, the Roloffs will provide fans with plenty of social media content and photos in the months to come, making the enormous wait just a tad bit easier.

View Slideshow: Little People, Big World: The Roloffs' Shocking Scandals... Exposed! [Updated]

It’s 1950. A new decade has arrived and the directors of film noir have realised something collectively: that good noir understands the city. It’s something partly understood from the previous two decades of Hollywood, albeit heavily (but not uniquely) tied to the studio.

Yet it’s a lesson that is reaffirmed with gusto by the film movements growing out the rubble in postwar Europe too. From this, the genre comes into its own – and what better way to begin this new, energetic and innovative era of noir than with John Huston’s The Asphalt Jungle. It’s a film that not only changed the way cities looked and felt in American cinema but also put the heist at the heart of the genre for good, achieving such creative success that it became one of the modus operandi for the genre.

Based on the novel by WR Burnett, the film follows a particularly gritty jewellery robbery involving a recently released criminal mastermind, Doc Riedenschneider (Sam Jaffe), eager to pull the perfect job so he can retire to Mexico. He goes to small-time crook Cobby (Marc Lawrence) for help with funding the operation and enlisting the men required to make it work. He’s put in touch with dodgy yet respected lawyer Emmerich (Louis Calhern) who agrees to fund the enterprise in spite of being broke due to keeping a young mistress, Angela (Marilyn Monroe).

Cobby helps put a team together, including loyal hard man Dix (Sterling Hayden) – trying to get out of the city and blind to the love of Doll (Jean Hagen) – driver Gus (James Whitmore) and safe expert Louis (Anthony Caruso). But how perfect really is the job when so much is down to chance? And what will happen when one of the interested parties decides they want more than their cut?

If one thing really emerges out of the previous decade’s worth of cinema, it’s a move to using more real urban locations. Taking clear influence from the most successful film movement of the previous decade, Italian Neorealism, Huston creates something new and refreshing. With films by the likes of Vittorio De Sica and Roberto Rossellini, urban landscapes moved on in screen terms from the neat and tidy California back-lots and sets to something more dilapidated and gritty, just like the buildings left in ruins after the war. Huston clearly took note of this and combined it with the stylistic leanings of Hollywood cinema post-Citizen Kane; stark light and shadows building compositions using architectural devices and quirks.

The effect of this combination of contrasting visual ideas is breathtaking. The streets around Cincinnati – at once industrial, derelict and eerily empty – become a pulsating, vile creature whose dirt rubs off on everyone scrambling around them, from the pettiest of petty criminals to the most seemingly respected of public figures and authority.

The script, adapted in collaboration between Huston and Ben Maddow, goes to great pains to emphasise this dirtiness. “First thing I’m gonna do is take a bath in that creek and get that city dirt off me,” Hayden’s character suggests, deep in reminiscence of the family farmland he longs to buy back. It’s a personal pining that humanises him to the extent where his final moments in the film’s climax become some of classic noir’s most heartbreaking. Louis the safe man is of the same thinking too. “If you want fresh air,” he quips early on, “don’t look for it in this town.” In Huston’s hands, living and working in the city becomes a dirty business that can’t be cleaned off so easily.

What’s equally striking about The Asphalt Jungle is its sense of character. The range of its spoken roles and the sheer speed and precision through which they are effectively rendered is remarkable to say the least. Though the film is centred on the heist, Huston knows that the real drama will bloom in between the cracks of the mechanics surrounding it. He knows that technical exposition can only get you so far.

The sheer volume of heist films that proceed after the film tells of just how effective the scenario is though few possess the same level of understanding. Virtually every character on screen – of which there are many – reacts differently to the problem of the heist and its eventual collapse. It’s surprising to find the whole spectrum of human emotion and resilience present in just this one singular, seemingly straightforward narrative. It deals a high hand in human fallibility.

If Huston’s film exerted any influence over the films that followed, it’s thanks to the duality between its stark visual style and earnest appreciation of how characterful drama can spring from the most unlikely of places. I think of Dix’s heartbreaking journey home every time another heist film is viewed, wondering if it’ll reach the same heights of drama that Hayden and Hagen achieve as they stumble across that last Kentucky field.

Dix’s desire to return to the farm highlights a common drive in such films; to escape from places which feel more like a wild jungle than civilisation. There was only one way he’d ever get out of the city and wash the dirt of his criminality off, the only route left open to those crooks down on their luck. It’s a dark realisation, one that would drive film noir again and again thereafter: the desperate escape from a scenario where, even by chief of police’s own admission, “The jungle wins.”

The post How The Asphalt Jungle changed the face of American noir appeared first on Little White Lies.

Someone thought it'd be a good idea to put Donald Trump on the phone with George Floyd's family? Jesus Christ... (The Root)

Julia Roberts does the right thing and supports Black Lives Matter, which should go over real well with her aging white fanbase. (Lainey Gossip)

And then there's Madonna doing whatever the hell this is. (Dlisted)

Taylor Swift is out here making Kanye West look like... well, Kanye West. (Celebitchy)

you guys dont worry! kim k will talk to trump and get this all sorted out asap!

— Chelsea Peretti (@chelseaperetti) May 31, 2020

So remember when Thomas Middleditch did that weird, awkward Playboy interview where he brags about telling his wife that he wants to be a swinger immmediately after they got married? That situation reached its inevitable conclusion. (Vulture)

That time Angelina Jolie owned the Maleficent premiere. (Go Fug Yourself)

Don Lemon tells Ellen to stop texting him about the protests and get her ass out there to do something. (Jezebel)

Meghan McCain makes one of her rare, salient points about how Trump is going to lose 2020 thanks to his administration referring to senior citizens as "human capitol stock." (Raw Story)

"Destruction of property is not a valid form of protest"

Jesus: pic.twitter.com/eorXrjuscc

— Dean Trippe 🦋 (@deantrippe) May 31, 2020

Lin-Manuel Miranda and Hamilton producer Jeffrey Seller apologize for not speaking out to support protesters sooner. (THR)

Did you enjoy J.K. Simmons reprising his J. Jonah Jameson role in Spider-Man: Far From Home? Good, because he signed up for more. (Entertainment Weekly)

Some MAGA douche trolled Chrissy Teigen over donating money to bail out protestors, so she doubled her donation. Suck it. (The Daily Beast)

Kylie Jenner isn't really a billionaire and it was all a ploy to over-inflate the value of her cosmetics line? I am shocked. (Forbes)

Elderberrywine calls Henri Bosco's 1973 book, Malicroix, "gothic mysticism." She was entranced with the atmosphere of the book, she was surprised to find it's set in a real place. "It is the Camargue region of France where the Rhone comes down from the Alps into the Mediterranean, and is still just as empty and wild today." What's your favorite real place you discovered through a book? (Cannonball Read 12)

they're listening SO WELL are you kidding me??? 14/10 for all https://t.co/mokSJBZ0ba

— WeRateDogs® (@dog_rates) May 28, 2020