I just designed this site and work for the 9to5 team. Check it out! Bitch about your job all day!
This is an awesome band from Boston. Check ‘em out. They sound a little bit like Dispatch mixed with classic rock. Which is totally fucking awesome (if you prefer, I already mentioned that they’re awesome in the first sentence, and I don’t swear at all in that one. They’re worth 2 awesome’s and one swear, but you might be able to get the point from just one awesome. Proceed at your own risk).
Reason #421 why TJ Miller is my hero.
If you’re following me on tumblr, I think something weird happened with my posts on your dashboard recently. If it did, I’m sorry. If it didn’t….uh….hey! Just sayin hi, hope things are good. Talk to you soon.
Emily is a genius. Here is a very small percentage of the evidence I have to back up that statement.
If the title of Emily’s blog is too vulgar for you, you can go ahead and just skip to the post itself. I hope you’re not so offended that you’re blind to the genius.
Say “yes.” In fact, say “yes” as often as you can. When I was starting out in Chicago, doing improvisational theatre with Second City and other places, there was really only one rule I was taught about improv. That was, “yes-and.” In this case, “yes-and” is a verb. To “yes-and.” I yes-and, you yes-and, he, she or it yes-ands. And yes-anding means that when you go onstage to improvise a scene with no script, you have no idea what’s going to happen, maybe with someone you’ve never met before. To build a scene, you have to accept. To build anything onstage, you have to accept what the other improviser initiates on stage. They say you’re doctors — you’re doctors. And then, you add to that: We’re doctors and we’re trapped in an ice cave. That’s the “-and.” And then hopefully they “yes-and” you back. You have to keep your eyes open when you do this. You have to be aware of what the other performer is offering you, so that you can agree and add to it. And through these agreements, you can improvise a scene or a one-act play. And because, by following each other’s lead, neither of you are really in control. It’s more of a mutual discovery than a solo adventure. What happens in a scene is often as much a surprise to you as it is to the audience.
Well, you are about to start the greatest improvisation of all. With no script. No idea what’s going to happen, often with people and places you have never seen before. And you are not in control. So say “yes.” And if you’re lucky, you’ll find people who will say “yes” back. Now will saying “yes” get you in trouble at times? Will saying “yes” lead you to doing some foolish things? Yes it will. But don’t be afraid to be a fool. Remember, you cannot be both young and wise. Young people who pretend to be wise to the ways of the world are mostly just cynics. Cynicism masquerades as wisdom, but it is the farthest thing from it. Because cynics don’t learn anything. Because cynicism is a self-imposed blindness, a rejection of the world because we are afraid it will hurt us or disappoint us. Cynics always say no. But saying “yes” begins things. Saying “yes” is how things grow. Saying “yes” leads to knowledge. “Yes” is for young people. So for as long as you have the strength to, say “yes.”
THE SIMPSONS:
A sitcom about a family with jaundice, living in a town full of other people with jaundice. The town’s first black residents move in.
LOST:
A large foster family lives on a deserted island. They connect over their common pyschological issues and emotional baggage. Their foster parents are abusive….and mysterious.
MAD MEN:
A digitally remastered after school special series from the 60’s urging against the dangers of alcohol, teen pregnancy, and consumerism in a capitalist society.
SMALLVILLE:
A spin-off show about Alex Mack’s brother, who was also in the power plant leak, but ran away and was never heard from again. Until now.
PRISON BREAK:
A large foster family lives in a prison. They connect over their common pyschological issues and emotional baggage. Their foster parents are abusive….and cops.
FAMILY GUY:
A sitcom about a disease-free family, living in a town full of other disease-free families. They all make pop-culture references. The town’s first black residents move in.
SOUTH PARK:
The town is an allegory for heaven: Cherubic kids who never age live in a town that’s always in winter and is the catalyst for society’s most culturally significant events. By the end of each episode, the kids are all-knowing or all-powerful in some way that we can apply to our daily lives. Also they are Libertarian.
GILMORE GIRLS:
A community of auctioneers and those guys who announce the fine print at the end of commercials live in a small town together to see who can talk the fastest and have the most inside jokes with their fellow townspeople.
SEX AND THE CITY:
Four mid-life-crises-aged women are best friends living in New York, and attempt to live up to every negative female stereotype in each single episode.
UGLY BETTY:
A girl with inner beauty is surrounded by people who only value outer beauty. Hilarity ensues.
WEEDS:
A small time drug dealer consistently gets in trouble with other criminals and the law, but consistently gets out of trouble and supports her family because she is a MILF, and everyone has a soft spot for MILFs. Or maybe MILVES.
SEINFELD:
A man who will later become a completely culturally irrelevant and mediocre standup comedian stars in a standard, three camera, low budget sitcom that will remain culturally relevant forever.
HEROES:
A spin-off of THE 4400, on The USA Network.
LAW AND ORDER:
Cops handle cases, all of which are strikingly relevant to their psycologically distraught past. It slowly becomes clear over a number of episodes that the screening process for becoming a cop is not extremely thorough. Hilarity ensues.
ALIAS:
An FBI agent consistently gets in trouble with other agents and criminals, but consistently gets out of trouble and barely survives because she is really hot. (SEE: WEEDS)
SURVIVOR:
A reality TV show spin-off of LOST. Whoever has the most psychological issues wins one million dollars.
THE X-FILES:
The “will they, won’t they” drama between two detectives is constantly interrupted by the possibility of Aliens existing. Hilarity ensues.
FRIENDS:
A bunch of friends move an entire set of living room furniture into a coffee shop and all hang out there until they find something better to do. (Note: they often do not).
THE WEST WING (AND SPORTS NIGHT (AND STUDIO 60)):
A handful of auctioneers and those guys who announce the fine print at the end of commercials lead the behind the scenes of a political administration or tv show. They walk towards the camera through a series of long hallways to see who can talk the fastest and have the most inside jokes with their fellow administrators. (Note: There is no current knowledge of a planned cross-over between Gilmore Girls and any of these shows. More info as it breaks).
TWO GUYS AND A GIRL:
“Is that Dane Cook or Ryan Reynolds?” “Are you sure?” “Okay, yeah, that makes sense.” “What happened to the pizza place?”
ARRESTED DEVELOPMENT:
A handful of character actors each play the one role they are good at to perfection. They go on to play these roles later in other tv shows and films, gaining mediocre amounts of success.
More coming soon (maybe, if you want).