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    Aftershocks

    The battering of Andy Cohen beckons: Enough with the bad Sopranos prelims onReal Housewives of New Jersey

    Joseph Campana
    Theodore Bale
    Aug 24, 2010 | 12:40 am
    • Andy Cohen knows what's coming ...
    • Sitdown or not, you do not mess with Danielle.
    • No matter how outnumbered she appears to be.

    “Nothing caught on fire, nothing exploded,” Caroline reported last week after returning from a whirlwind Italian tour with the family. How naïve that sounds after another season of The Real Housewives of New Jersey!

    The show has struggled to stop flirting with comparisons to The Sopranos and finally make it big time, New Jersey style.

    “Can we find the solution to make her go away?” Caroline asks at a family sit-down. Talk about waste management — it sounds like someone could end up in a trunk.

    Meanwhile, Caroline’s arch-nemesis begins to speak in the third person: “Danielle’s mafia’s in place …There’s guns here — Caroline, know your place!”

    But let’s not rush to the anti-climactic finale. As in any action film, the buildup is everything.

    As the Manzos arrive chez Giudice, Teresa and Joe comfortably cook side-by-side. Caroline’s forgotten the wine and apparently Joe has stowed his SlapChop, forgotten his fickle finances, and let Theresa, in an apron worthy of a French maid, take charge of the pasta as Jacqueline and Chris show up.

    That’s right. The conglomerated Manzo clan can’t do anything without a detour to Danielle-land. Caroline feigns exhaustion with the situation then provocatively asks Jacqueline how Ashley’s doing, what with the assault charges pending. So dinner becomes a council of war. Should Caroline approach Danielle to ask her to drop charges?

    Caroline texts Danielle from a set of chairs so overstuffed they’d make Louis XIV proud. Caroline then exacts a promise from everyone else to keep Ashley in check. How like a fairytale! Will Ashley turn into stone after one more insulting text?

    Meanwhile, Danielle summons all her analytic powers to parse Caroline’s brief text. “I’d like to invite you,” Danielle scoffs. What significance that she used “I!” Daughter Jillian, as always, sees more clearly. “What sane person would want to go?” she asks.

    Besides, Danielle doesn’t fear Caroline anymore. “You’re not Carmelo [sic]. You’re not a Soprano,” she says. This is a video confession, but we do think she was absolutely true to The Sopranos with its amazing malapropisms. With just one word, Danielle has spliced Caroline Manzo and Edie Falco to produce an NBA superstar and candy-bar hybrid, a marketing executive’s dream!

    Another waxing moon drifts over the home of Jacqueline Laurita as a sensitive-yet-ominous piano arrangement lingers. Jacqueline holds her baby as she lays out the case to Ashley. Ashley insists on her innocence, saying Danielle is, “like herpes that never goes away.”

    Jacqueline’s oafish hubby Chris sees things more pragmatically. “It’s a waste of time and it’s becoming a waste of money,” he insists. For whom, Chris? Andy Cohen could be bulking up his 401(k) with Ashley-Danielle-inspired overtime (not to mention medical leave, but more on that later).

    Most great epics include elaborate arming scenes, a tradition passed down to the contemporary action film. In Franklin Lakes, it seems, for “arming” substitute, “endless over-analysis before a captive audience of family and or bodyguard friends.” And, of course, fix your makeup and pick a suitable frock.

    Danielle feels the love and light, so she calls her energist to be “scanned.” Is this the same energist who “scanned” Jacqueline once over the phone? And does that cost extra minutes? After a pathetic attempt at meditation-mudras with her smartphone on her lap, Danielle heaves a deep sigh or two and struggles to appear serene as a sitar plays. Bravo to Bravo’s music editors once again.

    It’s no surprise that as the two women meet for their private sit-down at The Abbey, a dark and dull restaurant out of a lesser romantic novel, both are filled with delusion. The question remains, who is the more deluded? Caroline wears a garish blue cocktail-dress. Danielle is dressed entirely in black and carrying a huge quilted purse that looks like it might contain a gun.

    Caroline is cordial when she says “you must be wondering why I called you here.” We thought it was supposed to be a meeting of the minds, but Caroline is acting like she’s Queen Elizabeth, about to bitch-slap one of her ladies-in-waiting. Danielle’s a character even David Chase couldn’t write. What was this Manzo mom thinking?

    Caroline calls the recent months “a crazy Merry-go-round.” The carnival metaphor will come back to haunt her in a few moments, but for the time being the women are civil. And Caroline continues to play innocent, saying that she’s merely puzzled as to why Danielle needs to pursue legal matters with Ashley.

    It becomes evident that Caroline fancies herself as some sort of clan boss who “stands with her family.” Really? For weeks and weeks, she’s been a peripheral character on the show, mostly moping about her lonely kitchen as her young-adult children flee the roost and her husband makes sure he’s got plenty of work to keep him at the office.

    We were waiting for a meaningful jab, a real zinger, and we found it when Caroline called Danielle a clown. Rarely quick-witted, Danielle comes back strong: “You’re calling me a clown with that red hair?” We have to admit that Caroline looks a lot more like she’s ready to sell cheap hamburgers and fries under a pair of golden arches.

    This painful tête-à-tête can’t last, so Caroline goes in for the kill: “When I called you garbage, I meant that you were garbage.” So much for reconciliation. Danielle is the one who walks out, however, and as she reaches for her hand-held in the misty night, she finally thinks of a retort: “She ain’t no matriarch of my family,” she says in disgust, adding “Teresa’s husband is a drunk! Jacqueline is certifiable! And Teresa, my daughters at that age wore lace and crinoline. Not leopard!”

    Back home, Danielle makes her gorgeous adolescent daughters thank her bodyguards and give them a hug. It’s a creepy-pervy moment, but then again there have been so many this season. Caroline stomps off to The Brownstone for mushy pasta and red sauce with the expectantly-waiting Manzo clan. She tries to end the season with an “a la familigia!” moment reminiscent of Moonstruck, but she’s definitely no Cher.

    After the fight, there’s little to do but read a series of dull recaps. Teresa insists her $11 million bankruptcy did not include a foreclosure on her home. Ashley paid a mere $189 fine with all other charges dismissed. Danielle’s embroiled in another sex-tape scandal featured in the pages of Hustler. And we’re too bored to let you know what’s happening with Caroline’s brood.

    With all this endless anti-climaxing, you may have nodded-off during the commercials. We sure didn’t. The trailers of the reunion alone were worth the price of admission, and we can’t wait for the “real” fight to come. There was even a brief tantalizing glimpse of Andy Cohen getting his ass shoved back into a chair.

    Was it a brawling Caroline, a tipsy Jacqueline, a crazy-eyed Danielle, or a scrappy Teresa that finally put him in his place? Our money’s on Teresa. She doesn’t need a table to terrify.

    unspecified
    news/entertainment

    Movie Review

    Pop star Charli XCX seizes 'The Moment' in new mockumentary

    Alex Bentley
    Feb 5, 2026 | 4:30 pm
    Charli XCX in The Moment
    Photo courtesy of A24
    Charli XCX in The Moment.

    There have been plenty of music documentaries and biopics that show how the life of a music star can be a trying one, with fans, record label executives, and hangers-on all wanting a piece of a certain singer or band. Charli XCX knows the pressures as well as anyone thanks to back-to-back hit albums, but instead of addressing her life with a self-aggrandizing promo film, she’s gone the unexpected route with the mockumentary, The Moment.

    The singer plays a fictionalized version of herself who’s coming off of “Brat Summer,” a cultural phenomenon that followed the release of her 2024 album, Brat. In addition to a planned tour, she and her team are trying to come up with other ways to capitalize on the moment, ideas that sometimes include her input and sometimes don’t. The one that becomes the driving force of the story is a concert film that will be directed by the in-demand filmmaker Johannes (Alexander Skarsgård).

    Even though Charli XCX had already planned out the visuals, props, and other elements of the tour with good friend Celeste (Hailey Gates), Johannes slowly but surely pushes his ideas to be used instead. As that part of her life starts to slip from her grasp, she starts to lose it in general, agreeing to endorse a Brat-themed credit card, taking an ill-advised spa trip to Ibiza, and more.

    Written and directed by Aidan Zamiri (who’s directed two Charli XCX music videos) and co-written by Bertie Brandes, the film should in no way, shape, or form be interpreted as giving viewers an accurate idea of who the singer really is. Aside from the presence of well-known actors like Skarsgård and Rosanna Arquette and comedic actors like Kate Berlant and Jamie Demetriou, everything in the film is heightened sufficiently to understand it shouldn’t be taken seriously.

    Still, it’s clear that fans of Charli XCX or those who participated in Brat Summer will be more invested in the film than others. Knowing that Rachel Sennott’s cameo likely stems from their friendship following Charli XCX doing the score for Sennott’s film, Bottoms, or that she enjoyed early fame from the inclusion of her song, “Boom Clap,” in “a movie about two kids with cancer,” as her character puts it, adds some depth to the film.

    One of the funniest things about the film is the lack of a showcase of Charli XCX’s music. She doesn’t sing a single note in the entire film, and any songs of hers that are heard are incidental to the story. There is, however, a ton of oppressive flashing titles and frenetic imagery during the various transitions in the film. If you are even slightly affected by rapid lights and/or movement, it might be best to avoid the film entirely.

    As George Clooney can attest from Jay Kelly, it’s more difficult to play a version of yourself than you might think, and Charli XCX deserves credit for playing into rumors of her “bitchiness” in this film. Upcoming roles in other films will prove whether she’s truly a good actress or not, but she has a presence that serves this movie well. Skarsgård, who seems to be having a moment of his own in the real world, is the clear winner for best supporting actor of the film, scoring in almost every scene he’s in.

    The Moment may not be as effective a mockumentary as something like This is Spinal Tap, but it still has enough memorable moments to make it worth seeing for both fans and non-fans alike. If that’s not enough Charli XCX for you, she’s also created the soundtrack for Emerald Fennell’s Wuthering Heights, which will be in theaters on February 13.

    ---

    The Moment opens wide in theaters on February 6.

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