"Don't Look Back in Anger" is a song by either Bob Dylan or Oasis. I can't summon the strength right now to find out which one. In any case, "Don't Look Back in Anger" is definitely also my advice toward people bickering about Year-End Best-of Lists. Hey eggheads: nobody cares how anybody ever sequenced their top 10 anything. Instead of looking back in anger, let's look forth in mild curiosity toward the coming year. Will we laugh harder than we did in 2011—the year of the Arthur remake? (Actually, the Arthur remake is shockingly not terrible. Handle it!) The answer is yes, we will laugh harder in 2012 than we did in 2011. And then, as many others have prophesized before me, we will all by consumed by the gaping maw of the oceans as they rise up collectively against us. It's gonna be a total bummer. At least some funny stuff will happen before then, though. 
It was supposed to be an underdog success stories everyone could get behind. Advance hype had Hamlet 2 pegged to be the 2008 model of Little Miss Sunshine and, more importantly, it had Steve Coogan positioned to finally break through as a bankable star of American comedy. He’d already cracked the mainstream that year with a brief but memorable turn in Tropic Thunder and a killer role in Curb Your Enthusiasm, but Hamlet 2 was set to be both his victory lap and a major crossing of the transom a la Sacha Baron Cohen. Unfortunately, this is not what happened at all. Instead, the movie bombed atomically, greeted by the kind of audience indifference that proves more poisonous than widespread scorn.
The Will Ferrell Sports Movie craze spanned just four features, although it seems like there were so many more of them. Between 2005 and 2008, each year saw a new release right on schedule, like high school sports seasons. First came soccer (Kicking and Screaming), and then car racing (Talladega Nights), followed by figure skating (Blades of Glory), and finally basketball (Semi-Pro). By the time the last one had come and gone, though, the idea of Will Ferrell playing in organized competition couldn’t have been more groaningly familiar. An end had to be near, if for no other reason than the fact that he was running out of sports. We’d seen Ferrell take a nutshot from just about every flying projectile possible, and it felt like we’d seen enough. Public opinion all but demanded that he retire his jersey for good.
The Saturday Night Live adaptation is one of the most maligned of all movie genres, and not without justification. Excepting Wayne’s World, it’s been a mostly fruitless enterprise. The 1990s churned out would-be film franchises like an assembly line, whether warranted or not, and these struggled to connect with viewers. Watching something like Coneheads, for instance, one can only be left with the question: Why, Coneheads, why? In any case, it didn’t take long for audiences to grow disenchanted with the string of one-note jokes built on shaky premises, and after a while Lorne Michaels stopped financing them. Any SNL movie made in the post-Ladies Man era, then, would have to do more to justify its existence than merely present its source material writ large. Luckily, this message was clearly not lost on Will Forte.
When you’ve seen as many movies as I have—and I’d strongly caution against doing so—you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a series in which I investigate these myths for sociological and comedic purposes.
Like a lot of comedians, Chris Farley was more or less a gaping black hole of need. Although he had many other troubles, one particular torment persistent throughout the latter part of his career was that he’d become deeply pigeonholed. Farley was prone to condensing his entire comedic persona into the phrase fatty falls down, a rather reductive way of looking at the cinematic success spawned by classic Saturday Night Live characters like motivational instructor Matt Foley. Ultimately the comic’s own destructive ways proved him correct, and he never lived to develop the range he so desperately craved. However, not all comedic actors follow the same career trajectory. Will Ferrell, who once seemed to play uber-cocky, oft-shirtless naïfs exclusively, is now starring in the just-released Everything Must Go, an indie dramedy adapted from a Raymond Carver short story. His performance is earning 
When you’ve seen as many movies as I have — and I’d strongly caution against doing so — you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a weekly series in which I investigate these myths for sociological and comedic purposes.
When you’ve seen as many movies as I have — and I’d strongly caution against doing so — you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a weekly series in which I investigate these myths for sociological and comedic purposes.
When you’ve seen as many movies as I have—and I’d strongly caution against doing so—you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a weekly series in which I investigate these myths for sociological and comedic purposes.
This is a review of a book entitled This is a Book by Demetri Martin. The book was written by Demetri Martin, of course. The title is not the only reason, however, why it could not have possibly been written by anyone else. 
When you’ve seen as many movies as I have — and I’d strongly caution against doing so — you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a weekly series in which I investigate these myths for sociological and comedic purposes.
When you’ve seen as many movies as I have — and I’d strongly caution against it — you start to notice the patterns. Through sheer repetition of stock characters and plot threads, Hollywood perpetuates a lot of myths about modern living that are not exactly true. Many of them are downright ridiculous. We Were Promised Hoverboards is a weekly series in which I investigate these myths for sociological and comedic purposes.
To paraphrase Homer Simpson, the three leads on Comedy Central’s new series, Workaholics, just can’t live without workahol. By that I mean they are probably too dumb to understand what a workaholic is, and would probably confuse that word with another one. Those characters are Anders, Blake, and Adam — three recent college grads who are attempting to shoehorn jobs into the same schedule they kept during the latter-day National Lampoons movie in which they matriculated for college, apparently.
How It Works
Splitsider Presents is a digital comedy store selling great comedy directly to you. There are no hoops to jump through, and you don't need to hand over your identity. Buying is simple and straightforward; you don't need a credit card or an existing account. You can complete payment and be watching a show in seconds, choosing to pay via either Amazon or Paypal.
Splitsider keeps only 20% of the cost of the purchase after transaction, bandwidth and legal costs, with about 70% going directly to the artist.
You can stream your purchases on whatever device you like, or download them to your computer to keep forever in DRM-free file formats.
Purchase/Playback Info
For $5 you get 5 HD or SD DRM-free downloads and 3 streams, allowing you to watch on your computer or any other device. You can choose to pay via either Amazon or PayPal, and you'll be able to log into the site whenever you want to re-download or stream your purchases.
Need Help?
Buying and watching shows on Splitsider Presents should be simple, quick and undemanding, but if you run into trouble, we have an excellent <A href="http://splitsider.com/store/docs/help">help section and customer service</a> to assist you.
'SNL' Review: Kristen Wiig Disappoints with More of the Same
28