Porter Mason

(via Instapaper)

(via Instapaper)

Blood thinners FTW (Taken with instagram)

Live-tweeting of bachelor party commences. (Taken with instagram)

Pre-bachelor party (Taken with instagram)

patbaer:

healywu:

chrispetescia:

YES! Earlier than expected, ST: TNG, DS9 and VOY are now available for “Watch Instantly” on Netflix!

Heads up via Tony

For all the cool people I know.

DS9’s not coming till October. But get your TNG on!

This is good news. Is there some reason anyone doesn’t have Netflix?

officialssay:

Then-IMF Chief Dominique Strauss-Kahn meeting the Obamas in 2009. (Found via nymag, Photo from the IMF Flickr.)

“Alrightalright, eeeeeasy there, big fella…”

Steve Blank, entrepreneur and teacher in Philadelphia University commencement speech

Filled out some more evaluations, so I have more pearls of effin’ improv wisdom, people.

• Try to make small big moves. Make them big in terms of the improv, but small in terms of your character.
• Understanding game helps you unlock what you and your scene partner are enjoying about the scene, and gives you a method to repeat that success.
• Straight men are only useful insofar as they provide a contrast to point out something unusual. Once that use has run its course, continuing to stop the action of a scene as a straight man is harming the scene.
• It may work for an individual’s style to not be slavish to game, but it’s harder for other people to work with that individual in a Harold.
• The people with the odd behavior in our scenes are human, too, and it takes MORE effort to portray them as real people.
• Even if you start as a straight man, it doesn’t mean your character can’t be won over by a scene’s strange logic.
• When you think and pause and stall in scenes, it can panic your scene partner by giving them the (probably incorrect) feeling that you’re unsure of their last choice.
• Always find the humanity in whoever you’re playing.

And this is a note I found myself giving a lot to people prone to conflict:

Spending more than two of your lines arguing about any one point in a scene is a waste of time.

One line: you’ve made your point that your character disagrees with it. Two lines: you’ve now made it clear your character is fundamentally opposed to it.

After that, unless you broaden the point, state your reasoning or concede and move on, you are wasting time. And we only have about three minutes for this scene.

Two lines of contention is all we can allow. And really one (or half of one) is usually enough to get the job done.

So I give people the exercise that they are only allowed to argue for two lines. After that, they must force themselves to move or else I’ll sidecoach them to move on.

And after that… the whole class goes sidecarrin’!!!!

jackieclarke:

Adam Pally on Kimmel!

He kills it!

(via fruitpizza)