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“In every actress’s life, the media decides when you finally reach the point where you’re not believably f&^kable anymore,” Louis-Dreyfus explains to a bewildered Schumer.
No one tells you, Fey says. But there are signs.
Powerful story....changes how you look at addiction.
Now this are some interesting high heeled shoes........
I can’t make schools change, no matter how much I advocate and complain. So I gave up on that and said, “You know what? I’m not going to change that. I send them to school, they do whatever they’re going to do, and it’s not very challenging and it doesn’t promote creativity. And then when they get out of school, it’s time for parents to shine.”
One of the highlights of our recent European tour was Haley Reinhart's masterful interpretation of our vintage arrangement of Radiohead's "Creep" (originally performed on this channel by the amazing Karen Marie). I enjoyed it so much that I brought Haley into a studio in Zurich on our day off to record it. If you haven't heard Haley sing this before, get ready for a truly remarkable performance. Oh yeah- and this was the very first take.
This is brilliant....come on Apple...they are giving it to you for free.
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Working on the Enterprise is pretty much a non-stop party as far as I'm concerned. (Probably because the only parts I pay attention to are the Kirk/Spock moments, Scotty when he's drinking, Chekov when he's macking on his girlfriend and doing no work, and Uhura singing and just HAVING A GOOF in general.)
On Thursday, April 4th, 1985, a blast of dystopian satire hit the UK airwaves. Max Headroom: 20 Minutes into the Future was a snarky take on media and corporate greed, told through the eyes of investigative journalist Edison Carter (Matt Frewer) and his computer-generated alter-ego: an artificial intelligence named Max Headroom.