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    Bravo's Catfight Fetish

    Aftershocks hair raiser: Ashley pulling her way to her own Real Housewives ofNew Jersey spinoff show

    Theodore Bale
    Joseph Campana
    Jul 13, 2010 | 11:04 am
    • Shouldn't Bravo's Real Housewives of New Jersey change to a a hair-yankingmotif?
    • Ashley's own mom Jacqueline knows that she cannot hope to contain her daughter.
    • Elena Kagan's never made as convincing a legal argument as Ashley Holmes pulledoff.
      White House photo

    Let’s be clear about one thing: Teresa Giudice, the flashy table-flipping virago of Franklin Lakes, is one scary bitch. And we mean that in the best of ways.

    When we left you, dear readers, Teresa was still spouting fragmentary pleasantries in the foyer of the North Jersey Country Club.

    But we could see her simultaneously spinning a deadly cobweb, waiting for the first false move from the object of her theater of cruelty, Danielle Staub. Seconds later, Teresa was all battle cries.

    “Did you forget I’m from Patterson?” she warns before the teenage fashion show fell into a deep sea of pandemonium.

    We’ve been waiting all season for this encounter, and by now we’ve accepted Bravo’s gratuitous love of woman-on-woman violence. Was it necessary for her to scurry after Danielle? Yes, if you want to keep your title as Queen Bee of The Real Housewives of any location.

    We thought Teresa would pull off one of her own heels and stab a bitch in the eye. But instead, it was Danielle who had to lumber along like a one-legged pirate, exclaiming to the crowd, “I broke my f*cking heel!” before taking emergency shelter in an outdoor corner of the club to hyperventilate and weep. “Harry, put her in the car!” shrieked Kim G. to her imposing chauffeur, as if Danielle were stuffed, trussed, and headed for the oven on Easter.

    Watching The Real Housewives of New Jersey Monday night, we were filled with a sense of déjà vu. Haven’t we seen most of this before? As Jacqueline’s sultry-yet-spitfire daughter Ashley grabbed a hunk of Danielle’s extensions in her hungry fist, we thought immediately of the last season of The Real Housewives of Atlanta, when even the classy Sheree Whitfield nearly yanked off Kim Zolciak’s broke-down blonde wig.

    It’s a scene that never fails to satisfy, ever since Neely O’Hara snatched Helen Lawson’s wig in the legendary 1967 film Valley of the Dolls.

    We’ll never forget Neely's riposte: “It’s a wig! Her hair’s as fake as she is!” Of course, the problem of authenticity haunts the rest of this episode as well. “That was my real hair, not my extensions!” Danielle cries out.

    And later, as a little tug of the wig becomes terroristic trauma in Danielle’s shaky mind. She claims, “They pulled handfuls of hair out of my head!” And then even later: “There’s a small bald spot in the back of my head.”

    However, between hysterical sobbing fits, Danielle mustered the preternatural poise of a paralegal to speak with the police: “My hair was pulled and they accosted me.” Ashley laid down her own law: “Technically, I didn’t pull her hair. I pulled her extensions, which isn’t really part of her.”

    Forget Elena Kagan. Ashley’s our nominee for the Supreme Court.

    Of course, Danielle’s already poisoning the jury pool with intimations of a lawsuit. No doubt many people suffer from a sore neck and twitching eyes after a little hair pull. But that, Danielle tells us, is what the law was designed to do: Protect people like her. I guess that makes her ex-con buddy Danny and the Hell’s Angels deputized sheriffs.

    Later, as she processes the event, Danielle pulls to the side of a busy road in her gas-guzzling SUV. And by the way, thank goodness for four-way flashers. How else is a poor girl to call her Energist? “I have tapped into my psychic side with regards to this matter,” Sarai, the Energist, confides.

    Really, Sarai? Did you need your massive psychic powers to realize that violence is bad?

    Hey wait a minute: Didn’t Dina have an Energist first? Remember what she said about Danielle in the first season? “That girl’s obsessed with me. I don’t know if she wants to be me, or skin me and wear me like last year’s Versace.”

    And there was yet another energist session as Sarai tried to “pull negative energy” out of Jacqueline — through a telephone — at Danielle’s request. Jacqueline plays along, trying to prevent daughter Ashley from being brought up on charges. But really she plays games on her mobile as Sarai mutters mumbo-jumbo on national television. Is New Jersey a breeding ground for energists or is the American Energist Association bankrolling Bravo?

    For the moment, Jacqueline’s willing to play along with Danielle’s reindeer games. And she and ever-crasser husband Chris (wearing a rosary around his neck) attempt to bully poor Ashley as she lounges, serene, in black-and-white tiger print pajamas. When a single glance from their erstwhile vixen says, “Keep your laws off my body,” mom and dad’s sad attempt to foil a women’s wig war with idle threats is just another waste of time.

    Ashley’s not impressed: “I can do anything I want to her.” Oh Bravo, when does Ashley get her own show?

    unspecified
    news/entertainment

    Movie Review

    Heartfelt movie The Life of Chuck adapts optimistic Stephen King story

    Alex Bentley
    Jun 13, 2025 | 5:30 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
    Tom Hiddleston in The Life of Chuck.

    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.



    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

    moviesfilm
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