George Lucas and Steven Spielberg literally raped Indiana Jones. Three times. And it was all shown in (semi)graphic detail. In one of the scenes, the terrible duo hunt down with  Jones with shotguns and make him strip. They proceed to rape him, while making him squeal like a pig. And it's all told through the eyes of fourth graders. Classy.
 
The rapes were an allegory to the awful nature of this past summer's blockbuster, "Indiana Jones and the Kingdom of the Crystal Skull". The two filmmakers were later found (in the show) raping a stormtrooper.

The episode shows a passionate hatred for the new Indiana Jones movie. The question is, "Where was this episode when the Temple of Doom came out?"

It's also good to see somebody being passionate about something. In an age when the average Joe is pissed about every single thing on the evening news, and impotent politicians mildly going about solutions, it's nice to see someone who says what they mean...in a way that people will remember.

I say good job, South Park. A little over the top, but I can look past that. I still love that show.

Since 1997, when their show started on the Comedy Central channel, my writer wife and I have thought that the most dangerous, crudest and funniest people producing entertainment for TV are Trey Parker and Matt Stone. They simply write, say and do anything they wish--a producer's dream. Not our demographic, I hear you saying. It's just cartoons. Well, so are The Simpsons, who have had the power of Coke over all age groups for a long time now. No, I've never watched that stuff, I hear you saying. OK, fine. We often forget they're still on (11 years is an eon in TV) and miss out, too. But, every time we come back to "South Park", it's still fresh, crude, insulting, obscene, dangerous, libelous in some jurisdictions and often floor-rolling funny. "How do they get away with that?", one of us always asks. "Doesn't anyone watch this show?", my wife always yells breathlessly at some point, as if the old NBC censor was still sitting on the couch asking for bleeps and snippets for the risque jokes on Johnny Carson's "Tonight Show". Well, as it happens, maybe no one does. As, as Jon Stewart's new segment, "The Clusterf*#k of (whatever), shows: nobody at Viacom watches the shows they disseminate, they just count the coin. Until now.

"South Park" TV show disclaimer

Yes, sarcasm and satire are sometimes hurtful. But one of the bedrocks of humor has always been "when someone 'gets hit on the head' and it's not you". (Three Stooges, Popeye, Marx Brothers, Roadrunner, anyone?) Well, this time it's the Masters of Hollywood givin' it to a hapless Indiana Jones, a la Deliverance. Oops, no one (at least no executive at Viacom) was watching. Nikki Finke, the columnist maven of all things Hollywood, thinks the poop will hit the air mover at Paramount, over this little indecency. Mostly because Master George is already at work on expected cash cow Indy #5.

See: http://www.deadlinehollywooddaily.com/ and scroll down to:

UH-OH! Paramount Unaware 'South Park' Hated On Spielberg & Lucas & 'Indy 4'

Ah, there's no better smackdown than a good old Hollywood family feud! So many egos, so much risk. I thought you'd want to know. "hollywood, baby, everbody loves hollywood"

For background on South Park: http://en.wikipedia.org/wiki/South_Park

Pocos días después Matt Stone está tumbado en el sofá haciendo zapping cuando de repente se topa con la inauguración de los Juegos Olimpicos de Pekín. Entre risas le comenta a su hermano que es increíble como estos chinos poco a poco están haciendose con el cotarro. Después de unas cuantas cervezas se queda dormido entre tanta pomposidad artística demostrada por los nipones.

Semanas después ambos se reunen para continuar preparando su serie, South Park, y ante el aburrimiento y el sopor del verano empiezan a divagar sobre lo mucho que se han aburrido estos días. Entre risas Trey le comenta lo absurda que le pareció la cuarta parte de las aventuras del arqueólogo y Matt le explica como fue ese día en el que se quedo dormido en el sofá medio borracho mientras veía a un montón de chinos tocando el tambor.

De repente a ambos se les encendió la bombilla (figuradamente).

Y esto chicos es un relato ficticio de como puede ser gestado un capítulo de South Park.

Ayer, 8 de Octubre volvió a la televisión South Park (siguiendo la cuenta de la temporada anterior, o sea el octavo episodio de la doceava temporada), y volvió tan bruta como siempre. He de decir que por regularidad me parece la mejor serie de animación que existe actualmente, ya que pocas veces (por no decir ninguna) he acabado de ver un cpítulo de esta serie sin reírme un buen rato o soltar un ¡joder qué animales!.

En este nuevo episodio (tranquis sin spoilers, aunque no creo que halla una trama como para soltarlos), vemos como por fín los chicos de South Park hacen realidad los sueños de muchos de nosotros y son capaces de llevar a George Lucas y Steven Spielberg ante los tribunales por los delitos cometidoas hacia Indiana Jones o Star Wars, mientras Cartman comienza una cruzada personal, racista y xenófoga (y van..) en contra de la comunidad china. Sin duda lo mejor del capítulo, que podéis ver online ya aquí, es cada una de las veces que aparecen George y Steven "dando rienda suelta a sus instintos" o las secuencias dentro del restaurante chino entre Cartman y Butters (genial Butters como siempre).

Así que ya sabéis. Si os gustan Los Simpson por su costumbrismo, Padre de Familia por su humor referencial o Padre made in U.S.A. por su crítica a la sociedad americana, tenéis que adorar South Park.

EDITADO: Podéis ver el fragmento de la discordia, aquí.

Berare da Chineez

Cartman, it seems, is terrified that with the Opening Ceremonies of the Olympics (read my post about the Opening Ceremonies HERE), the Chinese were declaring their intent to conquer the world and take over America. Thus, he forms the American Liberation Front, which is “dedicated to freeing America from Chinese tyranny.”

After infiltrating a P.F. Changs to find out what the Chinese plan for taking over America is, a standoff with the police ensues and when it's over Cartman realizes that as much as he wants America to retain its power in the world, that can't be at the cost of American dignity - a lesson he learned by watching Butters unethically shoot people in their dicks.

The Rape of Indiana Jones

The perhaps even more nonsensical but equally as terrifying half of the plot concerned the rape of Indiana Jones by Steven Spielberg and George Lucas, who, the episode contends, destroyed Indiana Jones and effectively raped him senseless by making a fourth and totally worthless movie.

Stan, Kyle, the county attorney (who weirdly had four fingers on one hand and five on the other) and police officers all continue to relive the horror of that movie, seeing Lucas and Spielberg gang up on and rape Indiana Jones. One amusing reference was to the classic movie, Deliverance and a particularly disturbing scene therein.

The boys decide to take the two director-producers to trial and prosecute them for the rape they committed; when the cops bust into Spielberg's house, they find him and Lucas raping a storm-trooper, a reference to the two butchering the classic Star Wars films with digital enhancements and three crappy additional movies. This issue was already tackled in episode 609, "Free Hat," (click HERE to read about that episode).

In the end, everyone is incredibly relieved that the two evil men are brought to justice for their crimes.

My Thoughts

First of all, you can't find a South Park episode I don't like. Even if it's not the most hilarious or most interesting plotline, I still think that they're all good and worth seeing. This episode had some good laughs and some good points.

I always appreciate how far the show will take anything, whether to make you uncomfortable or think about what's important to you, and they definitely took things crazily far with the raping of Indiana Jones - both the use of the word rape and the visual depictions of what happened to him. I don't think it was necessary, appropriate or tasteful but when could South Park ever be described by any of those adjectives.

Particularly on the Deliverance side of things it was funny and made you cringe, and perhaps by using such a strong analogy, Parker and Stone were really trying to convey how terrible they considered the actions of Lucas and Spielberg to be when it came to their greed and personal interests rather than what was best for the character of Indiana Jones and the previous films' artistic integrity.

Also, though the conclusion with the Cartman and China issue was a good one, I thought that it was arrived at a bit abruptly and after a shoddy attempt at interweaving that plot with the other plot. I wish that they'd spent more time making a real ending out of that part of the episode which actually is serious and important rather than being silly with Indiana Jones - though, of course, perhaps the Indiana issue was more important to Parker and Stone than the rise of the Chinese?

Summary

What did you think about this new episode? Which issue did you like more: Indiana Jones or China? Are you excited for the rest of the season?

To read about more South Park episodes, click HERE.

Need professional editing services at great prices for papers, essays and more? Click HERE for killer deals and Fall Semester Savings!

Several fake leaked versions were already posted on youtube. I had a lot of fun reading associated descriptions like:

"Episode #1208 of South Park, due to air in October, was leaked onto Dailymotion.com yesterday at 9:21 AM ET, and was quickly removed 27 minutes later due to copyright issues. I was lucky enough to download it before it was removed, and have it here for your enjoyment."

My advice to you is simple: be patient; i can't wait to remove this post and write my firs impresion about this 1208.

For More Information Visit Static Multimediea "The Cult Of Cartman DVD" Film News Item

Torstainen historian minikoe ei onneksi ollut mikään tiukka. Ei monivalintakysymyksiä, mutta vastaukseksi riitti kaikissa tapauksissa esim. yksi lause tai nimi. Sitten päästiin katsomaan aataminaikaisia Disney-lyhäreitä ja nauramaan jälleen katketaksemme. Seuraava koe samaan aikaan ensi viikolla. John piti taas melkoisen stand-up-shown iltapäivän designtunnilla. Torstai on parsa päivä kun saa nauraa naamansa kipeäksi.

Mistä tulikin mieleeni...

Top 5: opettajien aforismit ekoilta viikoilta

-- Don't draw for one day, and you notice the difference. Don't draw for two days, and everyone notices the difference.

-- Everyone here can draw. You can be an artist who looks around and says, "this is a bunch of really good artists. I can really learn from this." Or you can look around and say, "this is a bunch of really good artists, but I'm still the best." and you won't stay happy very long. Because whoever you are, there will always be someone much, much better than you.
...And that someone is me.

-- The copyright warning is here to protect You, The Artist.

-- Fix this fuckin' thing.

-- OK everybody, let's watch some cartoons.

Läksyksi tuli kuuden tunnetilan ilmaiseminen pelkällä "luurankoposeerauksella" (tunnetaan myös tikku-ukkotyylinä). En jaksanut keskittyä luokassa, kun kaikki olivat vähän riehakkaalla tuulella, joten lähdin kotiin, mutta sain piirrettyä vain pari asentoa.

Perjantaisin pidettävästä "communications for animation"-kurssista en olekaan ehtinyt kertoa mitään. Yritän palata asiaan pian, mutta tärkeimpänä täytyy mainita että pidämme siellä jokainen vuorotellen lyhyen esitelmän "inspiroivasta kohtauksesta" -- näytämme ja esittelemme sellaisen kohtauksen (esim. animaatiosta tai elokuvasta), joka on innostanut meidät tälle alalle. Useimmille meistä on tietysti vaikeaa valita vain yhtä, sillä kuten olen sanonut, lähes jokainen tykkäämäni elokuva saa minut haluamaan elokuvatyöhön, mutta aikani mietittyäni olen päättänyt näyttää jengifeikkiammuskelukohtauksen Spacedistä. Itse asiassa se ei ole ykkössuosikkikohtaukseni sarjasta, mutta sopii aiheeseen, sillä se on kiistämättä ollut tärkeä sysäys unelmalleni elokuvien parissa työskentelystä. Ensinnäkin, se sai minut kokeilemaan storyboardien piirtämistä melkeinpä ensimmäistä kertaa. Siitä olikin sitten yllättävän pieni askel ajatukseen animaation opiskelusta. Lisäksi kohtaus inspiroi minua myös joltisenkin syvemmällä tasolla kuin tuolla, ja juuri siitä syystä valitsin sen enkä jotain hienoa animaatiota, unohtamatta sitä että Spaced on jo vuosikausien ajan uhannut julistautua suosikkisarjakseni koskaan. Mutta menen tarkempiin yksityiskohtiin sitten kun oma esitelmäni on valmiimpi; minun vuoroni tulee vasta ensi perjantaina. Tällä kertaa esitelmänsä pitivät Will (No Country for Old Men) ja Rosy (Dreamworksin Spirit: Stallion of the Cimarron). Ensiksi mainitun elokuvan olen nähnyt, toista en.

Lauantaina valmistauduin rasittavaan ja ärsyttävään shoppailureissuun, sillä tarvitsin lenkkarit, mutta onnekseni erinomaiset löytyivät heti ensimmäisestä kaupasta, jossa kävin. Ostin myös Spacedin ykkösalueen DVD-kokoelman. Esitelmää varten en välttämättä olisi sitä tarvinnut, sillä vaikka en tuonutkaan omaa kakkosalueen Spaced-boksiani Suomesta, minulla on jaksot aina Zenissäni, mutta aikomuksenihan oli joka tapauksessa ostaa se, ja näin ehtisin kenties ropistella uusilta kommenttiraidoilta lisämaustetta esitelmääni. Ei sillä että nippelitiedolle olisi esitelmässä älyttömästi aikaa, mutta ties vaikka tulisi kysymyksiä "yleisöltä". (Hmmm... En vielä tiedä onko kukaan luokkalaisistamme nähnyt sarjan. No, aina vain parempi jos on.)

Kakkosalueen boksi näyttää ulkoapäin mielestäni paremmalta, mutta ykkösalueen DVD sisältää kaikki herkulliset ekstrat edellisestä julkaisusta ja rapiat, joten viis kannesta. Ostosyy: aikaisemmin mainitsemani uutukaiset lisäkommenttiraidat, joilla amerikkalaiset kuuluisat (<--toiset enemmän, toiset vähemmän) Spaced-fanit pääsevät ääneen. Olen kuunnellut vasta ensimmäisen kauden jenkkikommentoinnit (joten jätän tarkemmat elämänlaatukirjoitukset hamaan tulevaisuuteen -- sitä paitsi hädin tuskin pystyisin edes aloittamaan kirjoitusta jostakin, joka on minulle näin tärkeä ja jolle haluaisin tehdä mahdollisimman hyvin oikeutta), ja niiden perusteella ykkösalueen DVD:tä ei vielä voi väittää täysin pakkohankinnaksi. Spaced on kuitenkin aina Spaced, joten kukapa julmuri voisi syyttää esim. Patton Oswaltia siitä, että hän unohtuu päiväunelmoimaan Jessicasta kesken milloin minkäkin lauseen? Kevin Smith on kuivan hauska, ja imitoi Edgar Wrightia jos ei äänellisesti täysin osuvasti niin ainakin hengessä äärimmäisen huvittavasti. Mietin edelleen miksi Trey Parker ei komppaa Matt Stonen kommenttiraidalla, mutta hmmm, jospa onkin typerää olettaa, että vain koska Stone fanittaa sarjaa, Parker fanittaa sitä myös? Vai onko kyseessä eräänlainen "haistakaa hillo, ei me tehdä joka ikistä asiaa yhdessä" -periaate? Vai oliko Parkerilla yksinkertaisesti hammaslääkäriaika nauhoituspäivänä? No nyt tuli uhrattua asialle ihan liikaa aivoenergiaa. Kakkoskauden uusilla kommenttiraidoilla ovat sitä paitsi tarjolla loputkin varsin houkuttelevista vieraista... Uuuuh en malttaisi odottaa niiden kuuntelemista!

...Mutta kun sosiaalisiakin taipumuksia olen alkanut kehittää! Tänään kävimme Lenan ja Tomokon kanssa lounaalla ja kävelimme ylös alas ala-Lonsdalea poiketen kaupoissa. Inhoan kaupoissa kiertelyä silloin, kun etsin jotain epätoivoisesti tarvitsemaani vaatekappaletta. Jos en ole etsimässä mitään, se menettelee. Kivaa oli. Suunnittelimme jotain viikonloppuekskursiota lähiaikoina, vaikka Grouse Mountainille näköaloja katsomaan, ja ainakin leffaan. Kerroin myös kiinnostuksestani Calvin Harrisin ensikuista keikkaa kohtaan, jos vaikka tytöt harkitsisivat mukaan lähtemistä. Yksin en nimittäin ilkeä mennä. Suomessa ehkä, mutta olen tässä vaiheessa vielä hyvin epävarma selviytymistaidoistani Vancouverin yöelämässä.

Vaikka en ole vähäisessäkään määrin ehtinyt kyllästyä omaan luokkaani -- pikemminkin päinvastoin -- on helpotus että on ainakin pari tuttua oman koulutusohjelman ulkopuolelta.
Voi hitsiläinen, pitäisi meilata Sashalle ja Yis'lle... Ollut niin kiire koulussa etten ole muistanut ollenkaan :(

MOSCOW (Reuters) – Prosecutors in Russia want to ban the award-winning satirical U.S. cartoon "South Park," calling the series "extremist" after receiving viewer complaints, a spokeswoman said on Monday.

"South Park," a cartoon aimed at adults and featuring a group of nine-year olds in a Colorado town, has courted controversy since its 1997 debut, lampooning celebrities, politicians, religion, gay marriage and Saddam Hussein.

But investigators have filed a motion after deciding an episode broadcast on Moscow television station 2x2 in January "bore signs of extremist activity," said regional prosecutors office spokeswoman Valentina Titova.

"In accordance with the conclusions made by experts from the court investigations committee, a claim has been filed against 2x2 for its broadcast of an episode of South Park," Titova said.

"South Park" has won two Emmy Awards and was first shown on the U.S. Comedy Central network. It is dubbed into Russian and rebroadcast on local networks, including 2x2, a channel which broadcasts animated series in Moscow and St Petersburg.

A representative for 2x2 was not immediately available for comment.

I would like to point out something cool I noticed long ago. When in the classroom, if you look at the alphabet above Mr. Garrison's head and the chalkboard, it says, “DiOsMiOhAnMaTaDoHaKeNnYbAsTaRdOsF . . .” That's right: "Dios mio," or "My gods" and "Kenny Bastard." Fun, right?

Also, a word about the Ayn Rand, Atlas Shrugged, knock at the end. Reading sucks, we learn, because of this book. Now, don't get me wrong, I totally see the flaws in the philosophy behind the book, objectivism. It's heartless, entirely lacking in social conscience and nearly impractical. However, the book was very interesting and engaging, especially considering its length. Normally, I agree pretty wholeheartedly with Stone's and Parker's opinions and evaluations, but this time, I'm going to have to disagree with them.

What did you think of the episode? What do you think of Ayn Rand? Atlas Shrugged? Objectivism?

PR: wait... I: wait... L: wait... LD: wait... I: wait... wait... C: wait... SD: wait...

To read about other South Park episodes, click HERE. To read about Parker and Stone's animated video to an Alan Watt's Zen lecture, click HERE.

Need professional editing services at great prices for papers, essays and more? Click HERE for killer deals and Fall Semester Savings!

As I said Friday, I'm going to be talking about the video I posted then; to watch this video before reading the article, click HERE.

This video begins by telling us about the presumption that there are two types of people: prickly, practical ones, and gooey, sentimental ones. The world, Watts explains, is often perceived in a polarized fashion. We see one thing as black and the other as white, one thing as good and the other as bad, one thing as prickly and the other as gooey. It's just a fact of our thinking that we pair and perceive in opposites. But, Watts tells us, the world is not so dichotomous. No person is entirely one thing, whether prickly or gooey.

Interestingly, psychology and personality studies reveal something similar. As friends and acquaintances characterize one another, researchers have found that people are often described in opposing ways. Moreover, when individuals try to characterize themselves as one thing, they find that they can also, at times, act in an opposing manner. People are not uni-characterizable, to use a term that doesn't exist. They are complex, acting one way in certain situations and opposite ways in others.

Using his Zen predilections, Watts makes us realize that the world is not so easily divided into blacks and whites, but must be understood as gooey prickliness, and prickly goo. Now, it is often fetishized about Zen and Buddhism that there is no belief in good and evil or other similar dichotomies, but this is untrue. However, Watts doesn't say that this is so and we can hardly accuse him of oversimplifying what he hasn't. Rather, he is making a point about the nature of life and people in an attempt to break down our insistence on characterizing other people along such strict lines, and insisting that we are unable to relate to them.

What did you get out of Watts' lecture and the accompanying video? Did you like it? Do you think it oversimplifies or does it make you think? What about?

To read more Zen Talk, click HERE. To read about "Cherokee Hair Tampons," and the fetishization of eastern thought, click HERE.

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The movie was made by Matt Stone and Trey Parker, creators and writers of South Park, and animates a short lecture of the Zen philosopher and thinker, Alan Watts.

It's only 2 minutes long and I'd like you to watch it and think about it and leave your comments below if you like. Then, on Sunday, Zen Talk day, I'm going to leave my thoughts for you on the video so make sure to stop back by and check them out and watch the video again. They can be worth repeated views. Trust me.

Did you like the video? What did it make you think about? To read my thoughts about the video, click HERE.

If you liked this and want to see more of these videos, please click HERE and scroll down to the bottom. To read actual movie and book reviews, click HERE.

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John wird natürlich zum Teufel geschickt, doch als er sich mit gekonntem Kung Fu gegen den Rausschmeisser wehrt, wird er vom Regisseur als neuen Hauptdarsteller angeheuert. John ist natürlich skeptisch und will erst nicht. Als der ihm der Regisseur einen Stunt-cock zusichert, der bei Close-ups zum Zuge kommen soll, willigt er jedoch ein. Selbstverständlich nur des Geldes wegen.

Orgazmo hat eine Abgefahrene Geschichte und ist ziemlich lustig. Die Schauspieler sind, wie es sich für guten Trash gehört, totale Profis im komplette Nieten spielen.

Ein Muss für Trash-Fans und Parker/Stone Anhänger

Rating 8/10

IMDB

Der Film ist eine bitterböse Satire über Amerika als selbsternannte Weltpolizei und über die Selbstüberschätzung der Hollywoodstars, was ihren politischen Einfluss angeht.

Der Film ist einerseits sehr trashig, vor allem was das Marionettenspiel angeht, dass kein Hehl daraus gemacht wird dass es eben Marionetten sind, andererseits mit sehr aufwändigen und detaillierten Kulissen.

Es ist vom Prinzip her wie Southpark: Die Figuren sind alle strunzdumm, die Themen trotzdem nicht banal, es hat jede Menge Zitate und verweise auf die Popkultur, der Humor ist böse und obszön. Höhepunkte dabei sind die Darstellung  des Nordkoreanischen Diktators Kim Jung Il, eine sehr explizite Sexszene, eine Kotzszene die an jene von Meaning of Life herankommt, das in die Luft jagen verschiedener Kulturerbschaften, vom Arc de Triomphe zu den ägyptischen Pyramiden, ohne dabei auch nur den Hauch eines Zweifels daran zu haben, dass alle froh sind, dass die Amerikaner endlich da sind "to save the motherfucking day".

Ein Leckerbissen. Rating 9/10

IMDB

But besides the satire (which by the way is going into its 12th season at Comedy Central), the creators of South Park, Matt Stone and Trey Parker also created some less (if at all) televised gems. Mixing their ingenius simplicity and comical charm with excerpts of Alan Watts' recorded lectures, they have created a series of clips visualizing some of the more poignant moments of Watts' speeches. If you are at all interested in eastern philosophy, Buddhism, Hinduism, the teachings of Zen and comparative religion in general, you'll probably devour Alan Watts teachings (available here and in part on the Alan Wats Podcast.

The guys over at souljerky have taken the time to collect some of these video clips in one post. If you're hungry for more (or prefer the YouTube video player), I suggest you have a look on YouTube where you'll find plenty more.

Yeardley Smith as Lisa Simpson

Pamela Segall Adlon as Bobby Hill

Seth MacFarlane as Peter, Brian and Stewie Griffin

Tom Kenny as Spongebob Squarepants

James Avery "Uncle Phil" as The Shredder

Alexander Gould as Nemo

Rachael MacFarlane as Meg Griffin (Pilot Episode), Hayley Smith (American Dad)

Mila Kunis as Meg Griffin (2000-Present)

Lacey Chabert (1999 - 2000)

Adam West as Adam West

Lorenzo Music as Garfield

Dan Castellaneta as Homer Simpson

Elizabeth Daily as Tommy Pickles

Trey Parker as Stan Marsh, Eric Cartman, Satan, Mr. Garrison, Randy Marsh, Mr. Mackey

Matt Stone as Kyle Broflovski, Kenny McCormick, Saddam Hussein, Gerald Broflovski, Leopold "Butters" Stotch, and Tweek

Kathleen Herles as Dora

Jonathan Katz as Dr. Katz

In Canada, it’s just Season Four

By Jeremy Azevedo

Kenny Vs Spenny may be one of the funniest shows I have ever seen. Granted, my tastes are considerably lowbrow, but I have to call it like I see it and this season of Kenny Vs Spenny had me damn near shitting my pants with laughter.

The premise of Kenny Vs Spenny is simple: two best friends enter into a series of friendly competitions that result in the loser being subjected to some kind of scarring humiliation. The competitions range from the obvious, like “who can blow the biggest fart” to the bizarre, like “who can be tied to a goat the longest”. The humiliations are almost always horrible, like making out with an old lady or rolling down a hill in a plastic ball filled with dog turds. No, I did not make that last part up.

These ten episodes were executive produced by Matt Stone and Trey Parker, which ratcheted up the humor in an already funny show. Kenny is such a dick and Spenny such a sad sack that you can’t help but suspend disbelief that some or all of the show may be staged and just enjoy the sadistic abuse levied upon poor Spenny. How “The Hills” became the de-facto pseudo-reality show when there’s something like Kenny Vs Spenny out there defies all logic.

The first episode, “First Guy to Get a Boner Loses” made me laugh so hard that I choked on an ice cube. “Who Can Handle the Most Torture” and “First Guy to get a Stain Loses” made me shoot liquor out of my nose. While watching “Who Can Be Tied To A Goat The Longest”, I laughed so hard that tears were streaming down my face and I think one of my neighbors may have filed a noise complaint. So my advice to you would be not to eat or drink anything while watching Kenny Vs. Spenny, and to try and be courteous to your neighbors or whatever, I guess.

Rating: 10 out of 10
+2 if you suck at math and think that 12 out of 10 is in any way a reasonable numerical rating
-2 if you are, like, Amish or something and don’t think that farts and public nudity are funny

One year they went to the Emmys in dresses and on acid. Though it sounds like fun, they vowed never to do that again.

South Park has won two Emmys and a Peabody Award (the latter is far more distinguished despite being less known), but the show's response to the Emmy win was to do an entire episode about the world's biggest piece of crap, continually flash their Emmy winner status on the bottom as they depicted this constant crapping and then jam the Emmy in the biggest piece of crap at the end of the episode - a critique both about their show and the Emmys.

This episode is disgusting and funny and in the meantime makes an amazing point. Also, it makes fun of Bono for being douchey.

Did you like it? What do you think of the Emmys? Does South Park deserve them?

Click HERE to read about other South Park episodes.

Need professional editing services at great prices for papers, essays and more? Click HERE for killer deals and Fall Semester Savings!

In descending order according to their IMDb rankings:

The Master of Disguise

Honestly, I don't know WHY I like this one.

Kung Pow! Enter the First

It's just a lot of Oedekerk-y (Yes, I had to copy/paste that name) fun.

Ang Lee's Hulk

Yes, I definitely prefer this over The Incredible Hulk. Better casting, story, and direction. I won't go into too much detail, though. I'm wanting to do a more in-depth review at some point down the road.

Lady in the Water

(Got tired of the usual poster) Again, I'm wanting to write up a review for this as well. But I really enjoyed watching this one. Fun and intriguing.

Intolerable Cruelty

What can I say? It's a quirky romantic comedy from the Coen Bros. You can read my review here.

U.H.F.

It's a Weird Al film starring Michael Richards and a mop. Watch it already! There are just TOO many clips that I could show. But this one is a personal favorite:

Cop Land

People probably do like this one, but it deserves the plug. :)

Cannibal: The Musical

Yeah, definitely a guilty pleasure. A college film from Tery Parker and Matt Stone? Count me in.

The Adventures of Milo & Otis

Pugs are cute.

Peter Jackson's King Kong

I get a lot of flack for preferring this to the original. What can I say? It blew me away. Sure it isn't perfect, but neither is the original.

This post was for the Guilty Pleasures Blog-a-Thon at Invasion of the B Movies.

So, this has been a bad week for famous people that I respect and/or like.

I am sitting at my desk, day one of the grind and I am already thinking to myself if I can get by on public assistance and judging debate tournaments. That is not a good first day, but I think that it has more to do with that I am physically not feeling 100 percent. I knew that this moment would happen when I was sitting at the meeting yesterday that we had for the start of the last summer session. We saw around talking about the last minute details that needed to be handled before the start of the camp. I personally wanted to not make the meeting, since it was the last time that I would be able to sit around on my couch and not do a damn thing, but I decided to go ahead and show my face.

Fortunately, I was not the last person to show up for the meeting, which was clutch. We started talking about who was where and who had to do what and the word "duty" came up. Now, that seems like a simple word that explains responsibility. But, it also sounds childish, like the word doody, a word that a young child might use to explain doing the number two, or dropping the kids off at the pool. So, this word breaks up the meeting as the four of us begin to joke around about that word. I always think of Mr. Hanky, the talking piece of shit crap that befriends the children of South Park. South Park got me to thinking about another character on the show that made the show, Chef. Chef was voiced by Isaac Hayes, who was the one level headed adult in town. While his character portrayed some of the negative stereotypes that people have of African Americans, he was the one tight person, who always had the ladies at his peck and call.

Unfortunately, both from a conflict with his religion and his untimely passing, Chef, at least voiced by Isaac Hayes, is no more.

Isaac Hayes, the musician, composer and producer whose innovative sound changed the shape of pop music and whose shaved head, bejeweled outfits and regal demeanor embodied African American masculinity in the 1970s, has died. He was 65.

Family members found Hayes unresponsive Sunday afternoon next to a treadmill in a downstairs bedroom in his home just east of Memphis, Tenn., said Steve Shular, a spokesman for the Shelby County Sheriff's Office.

Hayes' wife, Adjowa, told investigators that her husband "had not been in the best of health recently," Shular said. No autopsy is planned.

With albums including 1969's "Hot Buttered Soul" and the double-disc, Grammy-winning "Black Moses" in 1971, Hayes laid the groundwork for both disco and hip-hop.

His rich, baritone voice backed by gently unfurling, string-laden arrangements showed how R&B could be both funky and ornate. His famous ruminative interludes on such songs as his cover of Jimmy Webb's "By the Time I Get to Phoenix" set the stage for rap's elevation of the black male speaking voice.

He was most famous for his 1971 soundtrack for the blaxploitation classic "Shaft," which brought him an Academy Award for best song as well as two Grammys, but Hayes had a long and storied career beyond that Hollywood high point. In 2002, he was inducted into the Rock and Roll Hall of Fame.

His music and his image as a black artist had a titanic power, especially during the apex of his fame. With his shaved head, omnipresent sunglasses and equally ever-present gold jewelry, he cut a strong, marketable figure.

In the 1970s, he released a string of albums for Stax Records, a label that offered a grittier counterpoint to the Motown sound. Hayes' recordings expanded the playing field for soul and R&B artists, proving that an album-oriented market existed for his experimental sounds.

"Hayes' story is one of epic proportions," wrote ethnomusicologist Rob Bowman in "Soulsville U.S.A.: The Story of Stax Records" (1997). "In the first few years of the 1970s he single-handedly redefined the sonic possibilities for black music, in the process opening up the album market as a commercially viable medium for black artists such as Marvin Gaye, Stevie Wonder, Funkadelic, and Curtis Mayfield."

Before finding his own voice as a solo artist, Hayes was a primary architect of Southern soul as part of the Stax Records writing and production team. Stax was home to Otis Redding, Booker T. and the MGs and other hit-makers.

Hayes' collaborations with David Porter, a fellow session musician and lyricist at Stax, gave the Memphis-based label some of its biggest hits, including "When Something Is Wrong With My Baby" for vocal duo Sam & Dave and "B-A-B-Y" for Carla Thomas. "Soul Man," another of the songwriting duo's compositions for Sam & Dave, was an early statement of black power that later became a huge crossover hit in 1978 for John Belushi and Dan Aykroyd as the Blues Brothers.

The fact that Hayes projected such a powerful sense of African American dignity, yet also co-wrote a career-defining hit for two white comedians, illustrates the paradoxical range of his appeal.

Headlining Wattstax in Los Angeles -- the 1972 festival that some called "the Black Woodstock" -- Hayes took the stage in gilded warrior garb. The crowd greeted him as a king. As a performer, Hayes embraced this role of ambassador of Afrocentric cool.

The shaved-head look that was central to his image developed in 1964 when the style among some African Americans was to straighten their hair. Tired of the effort that took, Hayes told his barber to cut it off.

"People stared and pointed, but I liked the breeze on my head. It felt great," he told the Chicago Tribune in 1995.

After a concert one night, when the crowd was screaming for him, a former boxer named Dino who was part of his security team said: "These people love you, man. They'll follow you anywhere. . . . You're like Moses. Black Moses!"

A writer from Jet magazine picked up on the phrase, and Hayes had mixed feelings at first as Black Moses became his nickname. He came to like the fact that people "didn't say I'm the Black Moses of the black world, they said of the music world."

But the music Hayes offered was as eclectic as any pop artist's. He covered songs by the Carpenters, Burt Bacharach and Hal David, and Jimmy Webb, transforming those "vanilla" hits into slow jams that would appeal to black and white listeners alike. Bacharach and David's "Walk on By" got a 12-minute reading from Hayes on "Hot Buttered Soul." Webb's "By the Time I Get to Phoenix" ran 18 minutes.

The Movie Shaft made me feel invincible and a total sense of black pride when watching that movie. I had to have a leather coat just like Richard Roundtree. The theme music for Shaft with the rich baritone of Hayes made me hyped to hear it. Obviously, I have seen all the Shaft movies, from the original, to Shaft in Africa, to the modern day Shaft with Samuel L. Jackson. Shaft was like the Gilded Warrior persona that I saw Hayes in several times during his first big time roles in the 70's. He would reinvent himself several times to remain current with the music of the day.

"Music is universal [but] sometimes presentation will restrict you or limit your range," Hayes said in "Soulsville U.S.A." "Glen Campbell and Jim Webb were targeting the pop audience. But when I did it, I aimed to the black market, but it was so big, it went all over."

Hayes' popularity as a recording artist waned in the mid-1970s, and he filed for bankruptcy in 1976.

He found a new focus as an actor in the 1980s, landing a recurring role on "The Rockford Files" and appearing in such films as "Escape From New York," playing the lead villain "The Duke" in the 1981 film, and 1995's "Johnny Mnemonic."

A new generation came to know him from "South Park," the animated series that gave him his most famous role as the voice of Chef. Hayes used the role of the suave cafeteria master to poke fun at his macho image and broaden his audience.

When he was offered the part by Matt Stone and Trey Parker, "South Park's" creators, Hayes thought they were playing a joke on him, but they assured him they were not.

Hayes said he responded, "You all some crazy white boys!"

In 2006, Hayes quit "South Park" after an episode mocked Scientology, the religion that Hayes practiced. He felt the episode showed bigotry and intolerance toward his religious beliefs. Stone responded by saying that Hayes had no problem with the episodes that made fun of Christians. Later, the character of Chef was seemingly killed off.

At the same time he was rediscovered through "South Park," younger musicians such as soul singers D'Angelo and Alicia Keys and the hip-hop duo Outkast began making music inspired by Hayes. Already much-sampled by hip-hop artists, Hayes enjoyed a renewed influence as R&B artists came back toward his lush, adventurous style.

Keys called Hayes' effect on her "major."

"One of the reasons 'You Don't Know My Name' is six minutes and six seconds is because of Mr. Isaac Hayes," she once said on VH-1. "He's really changed the face of music in so many ways. . . . The way he just kind of extended songs to the point where they would be strings for three minutes before the song even began."

At least the younger generation respects their elders. The old school crew has touched so many people and influenced so many artists that it isn't even funny…

Hayes was born Aug. 20, 1942, in a tin shack in rural Covington, Tenn., the second child of Isaac and Eula Hayes. When he was about 18 months old, his mother died and his father left the family, so Hayes and his older sister were raised by his sharecropper grandparents.

At 5, he made his public singing debut in church.

Trying to pull themselves out of bitter poverty, his grandparents moved to Memphis when he was 6 but remained poor. To help support his family, Hayes alternated between going to school and working in the cotton fields on nearby plantations.

"I used to dream, just dream about being able to have a warm bed to sleep in and a nice square meal and some decent clothes to wear," Hayes told Ebony magazine in 1970.

For a while, Hayes lived on the streets after his grandfather became ill. Hayes spent one summer sleeping in empty cars in a junkyard, according to the 1972 edition of "Current Biography."

Self-conscious about his shabby clothes, he briefly dropped out of school in ninth grade to earn money to replace them. His teachers tracked him down and persuaded him to return to school.

A self-taught musician, he began to play piano, organ and saxophone. As a ninth-grader, Hayes won a school talent contest with his rendition of a song by Nat "King" Cole, whom he idolized.

By his late teens, Hayes was married and about to become a father, so he left school again to earn a living. But he earned his high school diploma in 1962 after attending classes at night.

After leaving school, he started appearing with local R&B groups on the Memphis club circuit in a series of short-lived groups with such names as Sir Isaac and the Doo-Dads, the Teen Tones, and Sir Calvin and His Swinging Cats.

One evening, a friend asked him if he could play piano in her brother's band at a New Year's Eve party because he was away in the Air Force.

"I said, 'Sure,' even though the extent of my musical knowledge was 'Chopsticks' and 'Heart and Soul,' " Hayes said in the 1995 Chicago Tribune article. "I felt like I was heading for the Inquisition."

He was told the band sounded "pretty good," a compliment Hayes later attributed to the noisy, drunken clientele who "were gonna dance to anything." But it led to a regular gig that made Hayes confident enough in his piano playing to move on.

In the early 1960s, Stax Records hired Hayes as a session pianist and organist. He teamed up with Porter and began writing songs.

It took them "about a year to get in a groove," Hayes recalled in 2001 in the South Bend, Ind., Tribune.

Once they did, they penned about 200 songs, some of them R&B classics.

"We'd get together the night before a session to write, and we liked to have the artist present -- especially Sam & Dave -- because we fed off them," Hayes told the Chicago Tribune.

Hayes' early method of calling out chord changes to the musicians who were fanned out around him remained central to the way he worked.

"It was record-making at its most casual and rough-hewn, yet it produced hit after hit," Chicago Tribune rock critic Greg Kot wrote.

At the time, Hayes later recalled that "nobody had any idea that we were producing legendary stuff. We were getting a check and royalties and having fun and trying to impress girls."

In 1967, he issued his debut solo LP, "Presenting Isaac Hayes," a "loose jazz-flavored effort" recorded in the early-morning hours after a raucous Stax party, according to the All Music Internet database.

Two years later, he broke through with his second album, "Hot Buttered Soul," considered adventurous for including only four -- albeit lengthy -- songs.

Unhappy with his royalty arrangement with Stax, Hayes had severed ties with the label by 1975 and started his own imprint, which didn't last.

After the 1975 album "Chocolate Chip," Hayes didn't release new material until "Love Attack" in 1986.

In the intervening years, he pursued acting, eventually appearing in more than 60 movies and television shows. He recently completed work on the film "Soul Men," with Samuel L. Jackson and Bernie Mac. Mac died Saturday at age 50.

Through the Isaac Hayes Foundation, Hayes built a school in Ghana. The country recognized his humanitarian efforts by crowning him a king.

Hayes was married several times and had several children.

How totally ironic that he just finished filming a movie with Bernie Mac… they can read the reviews in the balcony upstairs. They say bad things happens in threes… watch out Samuel L…..

Isaac Hayes, the groundbreaking soul and R&B composer and performer who won an Academy Award for his theme to the 1971 blaxploitation classic Shaft, was found dead Sunday at his Mempis, TN home. He was 65 years old. The cause of death is not immediately apparent.

Raised in poverty on the outskirts of Memphis, after playing in local bands Hayes found work as an in-house songwriter and producer at the city's legendary STAX records label. Along with partner David Porter, he composed or produced hits for many of the label's most famous artists, including "Soul Man" and "Hold On, I'm Coming" for Sam and Dave and "B-A-B-Y" for Carla Thomas. Known as "The Soul Children," Hayes and Porter would work on over 200 songs for various STAX artists such as Otis Redding, Booker T and the MG's, and Johnnie Taylor.

But it was his second solo album as a performer, 1969's Hot Buttered Soul, that gave Hayes his own breakthrough. Expansive in structure and embracing jazz, funk, and rock elements, the album established him as a creative force and demonstrated the versatility of the emerging soul music genre to a wider audience. Two years later, his soundtrack to Shaft produced a worldwide hit in its theme song and made Hayes the first African-American to win the Oscar in a non-acting category. Later that year he released Black Moses, another milestone in soul music. In 1975 he and STAX parted company in a dispute over royalty rights. By mid-decade he embraced the burgeoning disco genre, releasing albums such as Disco Connection and Juicy Fruit.

Hayes appeared in Shaft in a small role, but his lead performance in Truck Turner  in 1974 started an acting career that would last until his death, including roles in films such as Escape From New York, Hustle & Flow, and Robin Hood: Men In Tights. His TV appearances included guest or recurring roles on The Rockford Files, Miami Vice, Stargate: SG-1, and dozens of others. But it was his role as Chef, the laid back cook on the animated South Park, that introduced Hayes to a new generation of fans. He appeared on the show for more than eight years, until objections over an episode lampooning Scientology caused him to abuptly leave in 2006.

Outside of South Park, Hayes' fortunes remained mixed. A series of recording comebacks through the 1980s and 90s never gathered momentum; a nightclub adjacent to Memphis' famed Beale Street failed to sustain business. But he continued working throughout: suffering a stroke in January 2006, he nevertheless appeared in a public service announcement for the nonprofit Youth For Human Rights International organization the following month. He was also active in the One campaign to fight AIDS and poverty.

At the time of his death Hayes was working both on a new album and had appeared in a new feature film titled Soul Men, co-starring Bernie Mac and Samuel L. Jackson. He is survived by his twelve children, fourteen grandchildren, and three great-grandchildren. By way of tribute to his life and works, the following video shows him performing the "Theme From Shaft" at STAX's legendary 1973 Wattstax concert showcase.

Unfortunately, Chef was not a part of South Park to the end of his life, as his character was killed in the first episode of the tenth season, titled "The Return of Chef" (1001). It was, to be sure, a controversial move, but nothing other than controversy surrounded his departure from the show.

At the end of the 9th season South Park did an episode about Scientology, lambasting the religion thoroughly and making it and some of its celebrity members, namely Tom Cruise, look rather stupid. Isaac Hayes took issues with Trey Parker and Matt Stone's portrayal of his religion - yes, Hayes was a Scientologist - insisting that they just didn't understand. Moreover, he told them that it wasn't right to make fun of his religion that way, though they noted that he had no trouble making fun of nearly everyone else's religions in other episodes.

Hayes left during the season break and later, Parker and Stone received a letter that he was resigning permanently. Mystery surrounds this letter because it is unclear who wrote it. It is believed that Hayes was in a coma when the letter was sent, suggesting that he had no hand in it at all. Others contend that he was coerced into writing the letter, and of course there is always the possibility that he wrote it himself. If this last option, it is unlikely that he was not goaded by fellow Scientologists to do so.

This situation soured me towards Isaac Hayes because I found his character on the show to be incredibly important - and also quite funny. Nonetheless, what happened happened and in a spectacular episode about Chef's leaving South Park for a fruity little club (a metaphor for Scientology), the character was killed off and Isaac Hayes never returned to South Park again.

Now, he's dead for real. I hope that the final 2 years of his life were fulfilling and enjoyable. I'm sorry that he departed from South Park on such an unfortunate note. Perhaps, considering my thoughts, I should try to bear Kyle's eulogy in mind from Chef's funeral at the end of the episode:

"We're all here today because Chef has been such an important part of our lives. A lot of us don't agree with the choices Chef has made in the past few days. Some of us feel hurt and confused that he seemed to turn his back on us. But we can't let the events of the last week take away the memories of how much Chef made us smile. I'm gonna remember Chef as the jolly old guy who always broke into song. I'm gonna remember Chef as the guy who gave us advice to live by. So you see, we shouldn't be mad at Chef for leaving us. We should be mad at that little fruity club for scrambling his brains. And in the end, I know that somewhere out there, there's the good part of Chef that's still alive in us all."

Here's to you Isaac Hayes.

On a similarly unfortunate note, Bernie Mac has also died at the age of 50.

What was your favorite Chef moment? What will you remember Isaac Hayes for?

To read about the group Anonymous and their global protest against Scientology, click HERE.