The timing of this is a little too close for me not to become suspicious. Less than a week after Nick Carter dragged Debra LaFave’s name out of obscurity — admitting
he lost his virginity to the Florida schoolteacher who was, years later, charged with having sex with her 14-year-old-student — LaFave’s ex-husband, Owen,
begins his publicity tour for
Gorgeous Disaster: The Shocking Story of Debra LaFave.
In the book, Owen says, “In hindsight, I made bad decisions. There were red flags. I put up with her emotional issues. She was pretty. I felt I had to save her . . . I guess I should have walked away.”
You have to admit it’s strange. Two weeks ago, no one remembered who Debra LaFave was, but last week she rode Nick Carter full-force into the blogosphere, priming us all for Owen’s book. Curious.
Because one of these days, she’s gonna pull a Kate Moss and get caught putting powder up her nose (please, God?).
More drunkie Paris (including an ass shot)
here.
Larry Birkhead has
filed suit against Anna Nicole Smith in Los Angeles, hoping to compel the actress/model/trainwreck to return to the United States from the Bahamas so that a paternity test can be performed on her baby, Dannielynn Hope, who Birkhead claims to have fathered. Smith claims her baby daddy is her longtime attorney, Howard K. Stern.
Papers from the lawsuit are sealed, but rumor has it they contain an array of disturbing allegations against Anna Nicole, including that she has been taking methadone, a habit facilitated by Stern. Smith’s 20-year-old son, Daniel, died last month of a
drug overdose involving methadone.
Birkhead has alleged for months that Anna Nicole moved to the Bahamas in order to avoid a paternity suit by Birkhead and to avoid being tested for drug use.
I guess we’ll just hang tight until someone leaks the court documents.
It’s the same as the problem with Saturday Night Live.
The sketches aren’t funny.
Aaron Sorkin, we learn, has a weakness — other than crack cocaine, of course — and it’s sketch comedy. What makes the Sorkin thing work — fast-paced, pedantic, clipped dialogue — for whatever reason just doesn’t translate in the sketches on S60. I can’t quite pinpoint the problem, but I have a feeling Sorkin relies too heavily on an audience’s relationship with and empathy towards his characters, and you don’t get to build that in a sketch. Or maybe Sorkin himself relies too heavily on his own relationship with and empathy towards his characters, and he can’t write solid one-liners for two-dimensional characters he’ll never see again.
I gave him a pass last week on that
Pirates of Penzance unfunniness, thinking he just had to get his feet under him, but it happened this week, again. I really, really like everything else about the show, but if the sketch comedy doesn’t actually become funny at some point, I’m going to have a lot of trouble tuning in each week to suspend my disbelief. Maybe time to change up your own writing staff, Aaron?
Update: America agrees with me.
S60‘s
ratings are down 30% from its premiere, 17% from last week.
Yesterday, I wanted to run the George Michael story with the headline “George Michael’s Double Whammy,” but she’d beat me to it. Today, she ran a Bobby Brown story as “Fleeing Bobby Brown,” which I used as a Bobby headline on Film.com a couple weeks ago.
Harumph.
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