{"id":389,"date":"2004-05-07T09:10:54","date_gmt":"2004-05-07T13:10:54","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2004\/05\/friends_finale_no_comment\/"},"modified":"2004-05-07T09:10:54","modified_gmt":"2004-05-07T13:10:54","slug":"friends_finale_no_comment","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2004\/05\/friends_finale_no_comment\/","title":{"rendered":"FRIENDS FINALE: No Comment"},"content":{"rendered":"

Bill Murray’s induced a couple double-takes since his Oscar nod and one of the funniest Golden Globe acceptance speeches in its history (“Often we forget about our brothers on the other side of the aisle — the DRAMATIC actors…”). He referred to the director who baked his souffle (LOST IN TRANSLATION), the 33-year-old Sofia Copolla, as a “girl.” Sexist comments both. I mean this guy was a figurehead of the COUNTERCULTURE, the era of feminism, sheesh. Then, in this<\/A> New Yorker profile of Harold Ramis by Tad Friend, he reveals an imperious ingratitude by calling Friend back with a “no comment” on writer and director Ramis’s contribution to his own stardom. And I watched this guy’s elephant<\/i> flick (LARGER THAN LIFE).


\nLINKS FOR INDUSTRY!<\/B>


\nDEFAMER

\nhttp:\/\/www.defamer.com\/<\/A>


\nMovie poop Shoot

\nhttp:\/\/moviepoopshoot.com\/<\/A>


\nLow Culture

\nhttp:\/\/www.lowculture.com\/<\/A>


\nIMIX FOR FEVER<\/A> (more to come)

\nhttp:\/\/phobos.apple.com\/WebObjects\/MZStore.woa\/wa\/viewPublishedPlaylist?id=26629<\/A><\/p>\n","protected":false},"excerpt":{"rendered":"

Bill Murray’s induced a couple double-takes since his Oscar nod and one of the funniest Golden Globe acceptance speeches in its history (“Often we forget about our brothers on the other side of the aisle — the DRAMATIC actors…”). He referred to the director who baked his souffle (LOST IN TRANSLATION), the 33-year-old Sofia Copolla, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-389","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/389","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=389"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/389\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=389"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=389"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=389"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}