The move returned Crystal, arguably the best Oscar host of the modern era, back where he belongs. And the imbroglio following former show producer Brett Ratner’s vile anti-gay comments seemed forgotten, if but for a moment.

Turns out the public may not be eager to forget that the dust up ever happened.

A new poll commissioned by The Hollywood Reporter reveals viewers wish Murphy were still hosting the event.

Market research firm Penn Schoen Berland surveyed 510 awards-show viewers aged 13 to 59 and compared the results against similar surveys about Murphy and 2011 hosts James Franco and Anne Hathaway.

In head-to-head competition, Murphy is the choice of 58 percent of viewers, compared with Crystal’s 42 percent … and African-Americans are more than 2½ times less likely to watch Crystal.

One note of consequence from the pollster – Crystal’s appeal “is significantly older, female and conservative.”

Crystal is no Charlton Heston, or even Jon Voight. The comedian doesn’t insult conservatives or their values while hosting the Oscar telecast. He simply puts on a grand show and lets the movies share the spotlight.

Brian Grazer to Produce, Billy Crystal to Host Academy Awards

Oh, how I love me some Eddie Murphy for sticking it to the Academy.

But you have to hand it to them; they rallied and fast. Brian Grazer is a very respected and accomplished producer, and the only possible guest host that could’ve bailed these nitwits out of this mess is the universally beloved Billy Crystal. So in just one day the Oscar telecast went from the rock-n-roll promised in the team of Ratner and Murphy to the old-school class promised by Grazer and Crystal.

Quite stupidly, for years now, the Academy has been trying to skew “young” in order to prop up their cratering ratings. But this is the very reason why the telecast has been so dismal. Anne Hathaway and James Franco? Let’s hope that the return of Crystal proves through the ratings that class is the real key to a successful telecast.

After all, we all love Billy Crystal; he’s very much the Bob Hope of our time. On the other hand, Jon Stewart, David Letterman, Whoopi Goldberg and Alec Baldwin are divisive partisans over 50% of the country can’t stand.

We win.

Opening Tomorrow With Predictions

Weekend Forecast (Nov. 11-13)
1. Jack and Jill – $25.5 million
2. Puss in Boots – $22.1 million (-33%)
3. Immortals – $20.5 million
4. Tower Heist – $14 million (-42%)
5. J. Edgar – $11.5 million

I don’t make predictions because I suck at them, but “J. Edgar” opening that low on over 1900 screens does not bode well.

Anyway, like the rest of America, I love Adam Sandler, and I really love Adam Sandler when he teams up with director Dennis Dugan… but I don’t know about this one. This is one of those trailers I watch and just know it’s either going to be a complete miss or a minor comedic masterpiece. The Pacino scenes do look as though they might become the stuff of legend and quoted down through the ages.

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SCOTTD’S EPIC LINK-TACULAR

FLASHBACK: GLAAD VS. KEVIN SMITH

MGM PURCHASES SCRIPT ADAPTATION OF YOUNG ADULT NOVEL ‘KILLER PIZZA‘

AN EARLY LOOK AT RIAN JOHNSON’S ‘LOOPER,’ STARRING BRUCE WILLIS

‘SLUMDOG MILLIONAIRE’ ACTOR ANIL KAPOOR TO STAR IN AND PRODUCE INDIAN VERSION OF ‘24‘

JENNIFER SAUNDERS TO WRITE ‘ABSOLUTELY FABULOUS’ MOVIE

CELEBRATING 30 YEARS OF ‘AN AMERICAN WEREWOLF IN LONDON’…

…AND CELEBRATING 60 YEARS OF ‘A STREETCAR NAMED DESIRE‘

14 VARIATIONS ON MARILYN MONROE

CABLE COMPANIES TO OFFER $9.99 BROADBAND TO LOW-INCOME HOUSEHOLDS

20 OF TELEVISION’S BEST ONE-SEASON VILLAINS

THE 10 WORST MOVIES ABOUT GREEK MYTHOLOGY

25 FACTS ABOUT ‘BLUE VELVET‘

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LAST NIGHT’S SCREENING

West Side Story (1961) -- Going to write a proper review of the Blu-ray, but for now let’s just leave it at… wow.

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CLASSIC PICK FOR FRIDAY, NOVEMBER 11

TCM:

10pm EST: The Americanization of Emily (1964) – A British war widow falls for an opportunistic American sailor during World War II. D: Arthur Hiller. Starring: James Garner, Julie Andrews, James Coburn.

I’m currently about 20 pages away from finishing James Garner’s just-released and superb autobiography “The Garner Files,” and I wasn’t surprised at all to learn that the role of proud coward Charles Madison is his favorite. Written by three-time Oscar winner Paddy Chayefsky –”Marty” (1955), “The Hospital” (1971), and “Network” (1976) — this brilliant and brilliantly complicated anti-war film (which is beautifully filmed to boot) offers Garner one fantastic scene after another — my personal favorite (and Garner’s) being this unforgettable explanation of his personal manifesto.

The tension Chayefsky adds to the scene with the mentioning of the wife is the work of a genius.

You can argue with the politics of the film (though I don’t think it’s as simple of an anti-war film as even Garner makes it out to be) but not the brilliance. If memory serves, William Holden was the first choice for the role but for some reason it didn’t work out. Of course, Holden would’ve been good, but not as good as Garner. Holden’s entire persona is one of cynicism, and those words wouldn’t have been so shocking coming out of his mouth. Clean-cut, amiable, Garner is a different story.

--Please send tips/suggestions/requests/complaints to jnolte@breitbart.com

Related: Murphy upset over Ratner departure (The Wrap).

(AFP) Veteran star Eddie Murphy has quit as host of next year’s Oscars show, following his long-time producer Brett Ratner who resigned after making an anti-gay slur, organizers said Wednesday.

Academy of Motion Picture Arts and Sciences President Tom Sherak announced Murphy’s departure a day after Ratner — director of current box office hit “Tower Heist,” in which Murphy stars — quit as producer of the February show.

“I appreciate how Eddie feels about losing his creative partner, Brett Ratner, and we all wish him well,” said Sherak in a statement.

Murphy said: “First and foremost I want to say that I completely understand and support each party’s decision with regard to a change of producers for this year’s Academy Awards ceremony.

“I was truly looking forward to being a part of the show that our production team and writers were just starting to develop, but I’m sure that the new production team and host will do an equally great job,” he added in the Oscars statement.

No immediate replacement was announced for either Murphy or Ratner.

Ratner, a prolific director and producer whose work also includes 2006’s “X-Men: The Last Stand,” made the offending comment at a discussion about “Tower Heist” last week, in response to a question about how he works.

The Los Angeles Times commented in a blog: “Ratner not only embarrassed the academy by insulting legions of gay people (who are perhaps the Oscars’ last remaining loyal demographic).

“He also made himself look like even more of an artistic featherweight by making it clear that he views the hard work and preparation that most filmmakers put into their craft — i.e. rehearsal time — as being for chumps, not fast-talking smoothies like himself.”

Next year’s Oscars show — the 84th Academy Awards, at which Hollywood’s most coveted prizes, the famous golden statuettes, are handed out — is scheduled for February 26.

Box Office Analysis:

1. Puss In Boots $33M – With a total of take $75.5 after two weeks on a $130M budget, DreamWorks is probably feeling better after what looked like a weak opening. Still, this will have to make somewhere close to $300M to break even, and that’s a long ways off.

2. Tower Heist: $25.1M — If that cast (Eddie Murphy, Ben Stiller, Matthew Broderick, Dave Chappelle, Tea Leoni, and Casey Affleck) can’t open a high-concept comedy/thriller this close to the holidays, no wonder Hollywood is worrying about… everything. This was supposed to be a no-brainer.

3. Harold and Kumar 3D: $13M — Opened below its predecessor, which means that this is likely the last big screen entry into what was never a hugely popular but still profitable franchise.

4. Paranormal Activity 3: $8.5M — A five million dollar budgeted creeper has already made $95 million without a single “bankable” star.

7. Real Steel: $3.4M – Only $79M after 5 weeks.

8. The Rum Diary $3M — Did Hollywood really think all the stoners who get high to their ”Fear and Loathing In Las Vegas” DVDs would turn this $45M film into a hit?

10. Moneyball: $1.9M — Everyone who saw this loves it, the reviews are through the roof, and it’s going to top out at right around $70M. Maybe there really is a disturbance in the box office force.

11. The Three Musketeers: $1.7M — $75M budget plus $18M take in two weeks equals disaster.

In other box office news: Foreign Box Office: ‘Tintin’ Takes No. 1 Spot for Second Straight Weekend to Jump $100 Mil

‘Margin Call’ Performing Well Theatrically Despite VOD Release

Hmmm…?

The Wall Street drama debuted in 56 theaters upon its release three weeks ago and simultaneously became available to cable subscribers who wanted to watch the picture from the comfort of their own homes. The movie has since expanded to 178 theaters and has raked in $2.5 million since its opening, according to an estimate from distributor Roadside Attractions.

Because video-on-demand results lag about a week behind theatrical ticket sale figures, Roadside will not be releasing any VOD data until December. However, the distribution company’s co-president Howard Cohen wrote in an email that “based literally on the first three days of VOD, which is all we have, my sense is that a comparable number of sales were made on VOD as movie tickets sold in the same three days.

Sign of things to come, I’m sure of it.

After that disappointing opener, you have to wonder if Universal isn’t kicking themselves right now for allowing crybaby theatre owners to muscle them into giving up on the idea of releasing “Tower Heist” on VOD in select areas three weeks after its theatrical release.  Now they have no extra revenue streams. They have to count on the old ones, and the old ones are giving everyone ulcers.

Bruce Vilanch Out?; Eddie Murphy’s Writing Team New to Oscar

This is a relief and long overdue.

Roger Ebert Warns of ‘At the Movies’ Cancellation: ‘We Need an Angel’

Right now Ebert pays for the program and gives it to public television for free.

If the most famous critic of his time can’t make this work, who can?

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SCOTTD’S EPIC LINK-TACULAR

DIMENSION ACQUIRES RIGHTS TO MICHAEL KEATON THRILLER ‘PENTHOUSE NORTH‘

DANA CARVEY TO REPLACE REGIS

LEGENDARY PICTURES ACQUIRES SPECTRAL, DESCRIBED AS A “GRITTY ‘GHOSTBUSTERS’”

HOLLYWOOD REPORTER LAYS OFF CRITIC KIRK HONEYCUTT

FROM JAMES BOND TO HARRY POTTER: CELEBRATING 75 YEARS OF PINEWOOD STUDIOS

LINDSAY LOHAN CHECKS INTO AND OUT OF JAIL

WHY THE ‘ASSASSIN’S CREED’ MOVIE DEAL HAS SHOCKED HOLLYWOOD

THE SEARCH FOR JOHN MCCLANE’S SON NARROWED DOWN TO FOUR ACTORS

COMPOSER HANS ZIMMER NEEDS YOUR HELP FOR ‘THE DARK KNIGHT RISES‘

5 POTENTIAL VILLAINS FOR THE ‘CAPTAIN AMERICA’ SEQUEL

HUNTER S. THOMPSON ON FILM: A BRIEF GUIDE TO THE GONZO

CELEBRATING THE 70TH ANNIVERSARY OF WONDER WOMAN

NOVEMBER 5TH: THE DAY DOC BROWN INVENTED TIME TRAVEL!

THE 30 MOST REWATCHABLE MOVIES OF THE MODERN ERA

AMERICANS HAVE SPENT $5 BILLION ON ZOMBIES AND ZOMBIE-RELATED PARAPHERNALIA

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LAST NIGHT’S SCREENING

Apocalypto (2006) — Whatever you might think of Mel Gibson as a human being, this story of an ancient Mayan hunter captured for human sacrifice while his pregnant wife and young son await his rescue from a pit is one of the best directed films of the decade.

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CLASSIC PICK FOR TUESDAY, NOVEMBER 8

Starting at 8pm, TCM hosts a John Wayne marathon: Rio Lobo (1970), McLintock! (1963), The Searchers (1956), and How the West Was Won (1962).

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--Please send tips/suggestions/requests/complaints to jnolte@breitbart.com

This weekend’s predictions and revenue results go as follows:

1. Tower Heist ($28 million) – No film has its future connected to positive word of mouth more than this one. Film will need to receive high ratings from weekend audiences, otherwise, “Puss In Boots” will win. Currently critical reviews are favorable but overall buzz on “Tower” feels right around where “Tropic Thunder” opened.

2. Puss In Boots ($25 million) - The film will benefit greatly from family audiences who didn’t see it Halloween weekend. Those audiences are now free of holiday obligations and will bring very healthy numbers to “Boots.” Look for a small drop and even another weekend win if “Tower Heist” falters.

3. A Very Harold and Kumar Christmas ($14.4 million) – The franchise’s audience was not very impressed with the second installment in the “Harold and Kumar” franchise back in 2008. As negative word of mouth spread, the film dropped quickly off its opening to finish way below studio expectations. Christmas’s biggest challenge will be in bringing that interest back. Look for sub-par results, one that could devolve into a “Your Highness”-like opening very quickly.

4. In Time ($7.8 million) – The Timberlake star vehicle did not pick up much positive buzz from its disappointing opening last weekend. It may pick up some action audiences due to lack of alternative choices. Will likely finish close to where “Source Code” ended up after its second weekend.

5. Paranormal Activity 3 (7.4 million) – The popular horror franchise sequel will put itself in striking range of a $100 million domestic mark. It is also already grossing more than “Paranormal Activity 2″ did at this point during its release.  For the film’s audience and studio brass, it seems a sequel couldn’t come fast enough.

Agree? Or what do you feel we missed?

No fat suits, kiddie co-stars or superfluous sequels. Just Murphy being Murphy – fast talking, lightning fast and utterly captivating.

But Murphy’s renaissance isn’t all that’s right with “Tower Heist.” Much maligned director Brett Ratner (the “Rush Hour” trilogy) squeezes everything out of his cast to make this a rare treat – a mainstream action comedy that doesn’t insult the audience.

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Ben Stiller stars as Josh Kovacs, a dedicated hotel manager who knows precisely how to make every guest happy. He’s especially clued into the building’s resident millionaire, Arthur Shaw (Alan Alda). The two play chess via their computers, and Josh makes it his business to see that all of Arthur’s material needs are met.

Arthur insists he’s still just a kid from Astoria, even if he swims in a rooftop pool every evening. It’s a nice pose, one that has the hotel workers fooled … for a while.

Josh’s image of Arthur is shattered when a team of FBI agents swarm the hotel and arrest the millionaire on embezzlement charges. What’s worse is that Josh entrusted Arthur with not only his personal pension but those belonging to his fellow hotel workers. Now, that money appears gone for good.

The affable Josh isn’t ready to kiss all that cash goodbye, at least not without a fight. He devises a plan to break into Arthur’s hotel suite and steal the man’s millions – assuming that he’s actually hid them so close to home.

The catch? Neither Josh not his fellow tower heisters – a broke family man (Matthew Broderick), a naive electrician (Michael Pena) and a father to be (Casey Affleck) know the first thing about breaking – or entering. So Josh bails out an old childhood acquaintance named Slide (Murphy) to teach them the fine art of thievery.

Ratner’s films almost always make serious coin, but he’s engendered very little respect from film critics. That’s an oversight that should be corrected starting with “Heist.” Ratner makes sure we get to know, and bond with, the characters swindled by Arthur. And while Hollywood loves to demonize the rich, Alda brings a texture to his character that defies lazy stereotypes.

Stiller radiates his stock Everyman appeal, but he gives Josh a hint of a New Yawk accent to lend the character some bite. It’s a tiny touch, but a welcome one since too many Manhattan-based films don’t even bother to try. Even better is how Stiller modulates his relationship with Arthur, segueing from genuine admiration to a sinking sense of distrust.

“Tower Heist” won’t go down as one of Murphy’s best comedies. Films like “Beverly Hills Cop,” “Coming to America” and “Bowfinger” still stand in the way. But Murphy’s turn here bodes well not only for his career but the biggest gig he’ll get in 2012 – hosting the Academy Awards telecast.

Eddie Murphy To Host Oscars

Late today. Catching up after being away for a few days, and part of that is always the good, long cry that occurs after a glimpse of my email inbox.

Choosing Eddie Murphy is why I was excited about bringing Brett Ratner on board to produce the Oscars. Murphy is a brilliant choice; funny, unpredictable and filled with a healthy dislike of the industry that made him so wealthy.  Best of all, he’s not going to sit there and allow bad jokes and writing to stand. Because he doesn’t care about anything but how well he’ll do, he’ll fight for what he wants against the lazies entrenched in the Oscar writing room and likely with Ratner having his back.

This is one of those inspired choices that’s so simple you can’t believe YOU didn’t think of it.

On a scale of 1 to 10, my interest in watching the telecast just went from DREAD to a good, solid 4.5.

More on how the deal came together here.

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QUICK HITS

THE FUTURE ACCORDING TO THE MOVIES

INSIDE LEIGH BRACKETT’S ORIGINAL DRAFT OF THE EMPIRE STRIKES BACK…

…AND WHY IT WORKED SO WELL

A NEW WESTERN FROM JOHN CARPENTER?

COOL BLOG: ‘MATTE SHOT – A TRIBUTE TO GOLDEN ERA SPECIAL EFFECTS’

WAS POST-MODERNISM BORN WITH ‘CLOSE ENCOUNTERS OF THE THIRD KIND’?

VIN DIESEL IN PRE-PRODUCTION ON NEW RIDDICK FILM

LEGENDARY, OSCAR-WINNING EDITOR/SOUND DESIGNER WALTER MURCH ON WHY 3-D DOESN’T WORK

‘THE SHINING’ AND THE IMPOSSIBLE LAYOUT OF THE OVERLOOK HOTEL

A CLIP FROM ‘THE THING’ 2011 

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–Please send tips/suggestions/requests to jnolte@breitbart.com

–Thanks again to the indispensible ScottDS

Ratner called the 50-year-old entertainer “a comedic genius; one of the greatest and most influential live performers ever.” Mischer called Murphy “a truly groundbreaking performer” whose “quick wit and charisma will serve him very well as Oscar host.”

This will be Murphy’s first time hosting the Academy Awards. He was nominated for an Oscar in 2006 for his supporting role in “Dreamgirls.”

Murphy said in a statement Tuesday that he is “enormously honored” to join the ranks of past Academy Awards hosts such as Johnny Carson, Bob Hope, Billy Crystal, Steve Martin and Whoopi Goldberg.

NY Post’s Lou Lumenick:

A petition is circulating to stop an outdoor screening of “Breakfast at Tiffany’s” next month at a Brooklyn Park. The beloved romantic dramedy starring Audrey Hepburn, which will celebrate its 50th anniversary in October, has long been considered problematic by many because of the bucktoothed, splenetic and bumbling Japanese character played by Mickey Rooney — an ethnic stereotype that was outdated even in 1961, and seems much more offensive than funny today.

A planned outdoor screening in Sacramento in 2008 was replaced by “Ratatouille” after a public outcry.

You do know this is just the beginning with these neo-fascists, right? After “Breakfast at Tiffany’s” they’ll go after “Gone With the Wind” and all the rest. And they and their ilk won’t stop until every film that offends everyone except white, Christian male conservatives disappears entirely — just like “Song of the South” has.

It may take years, decades or even generations, but the Left never stops. Never ever stops.

Orwell called this memory-holing.

Mickey Rooney’s Japanese character in “Breakfast” is way too over-the-top to ever be considered funny (I also think the movie is overrated in general), but if we’re going to start banning and making lists of “offensive” characterizations, I’d like to start with every portrayal of a Caucasian Eddie Murphy has ever done. And what about Archie Bunker? Talk about ethnic stereotyping.

See how that works?

Keep in mind that “offensive” has nothing to do with this attempted purge. If that were the case, these same petitioners would be demanding museums throughout Manhattan remove whatever might offend Christians and Republicans. Maybe they’re doing that. My money’s on not.

Alinsky

I never really had any insight into the pure comic genius of Saul Alinsky until I saw his new age Method followers display their considerable chops on the national stage. James O’Keefe and Hannah Giles, the Master’s ostentatious and envelope-pushing Dan Aykroyd and Gilda Radner-like proteges, whose hilarious ACORN skits also showed brilliant flashes of the late great Allen Funt. The Mysterious Mister X, the L.A. street comic who “Alinskyed” Faris Alkhateeb’s boredom-fueled Obama Joker art into an urban poster as devilishly humorous as Hannibal Lecter, also made as big a national splash as a 300-pound chub doing a cannonball into a crowded public kiddie pool.

Now I see the funny side. In fact, I’m getting Alinsky-inspired comic epiphanies of my own now. Who can say that deep down, that pathetic weepy drama queen performance by Nancy Pelosi on national TV pleading for people to “just stop it!” wasn’t the old Alinsky talking? Unfortunately for Madame Speaker, I’ve got the new age mischievous spirit of Saul Alinsky tugging at my muse. Struck me right away: the Pelosi video from 2006 in which Madame Speaker, addressing a moonbat rally, called Lefty anti-war protesters “patriots” and praised disruptions of town halls as a public service.

Eureka! What a side-by-side video comedy skit that would make! First cheering on the mad Lefty crowd like Ernst Roem rallying the Brownshirts, then all mournful like Vivien Leigh at the end of Gone With The Wind. Frankly, Madame Speaker, not only do I not give a damn, I’m going to hoist you on your own goddamn Saul Alinsky petard! Just like the Master would have wanted me to.

Another Alinsky-inspired banana peel laff riot might be editing videos of any Pelosi-like liberal Democrat Congressional reps who tearfully pleaded for support of the massive ObamaCare and Cap-and-Tax bills, then joked about not reading them. Getting the Alinsky hang of it now, people? Saul Alinsky was a comedic poet, and we didn’t even know it. Who’d a-thunk it, except perhaps those who knew him best? You know, I’ll bet if you canvassed his old neighborhoods in Chicago and Carmel, it would be just like the SNL interviews of neighbors who knew Buckwheat’s assassin:

REPORTER: “Did you know Mister Alinsky was a news-making community organizer?”

NEIGHBOR: “Yes. Very nice man.”

REPORTER: “Ever think he’d become the world’s most subversive political comedian?”

NEIGHBOR: “Oh, sure. That’s all he ever talked about.”

Here’s where I need your Alinsky-like help, my fellow mischievous political terrorist comedians, which we Americans all are at heart. Fight The Power! We The People are all in this together. I’m a comedy writer, mostly. My own brand of Alinsky humor is subversion with words. Don’t know the first fucking thing about making videos. That’s the director’s job, at least until I can take that two-day crash course that greatly helped Tarantino, Rodroguez and Chris Nolan, okay?

Doesn’t help me now. So would some helpful street comedians please throw those sharply contrasting Pelosi and other damning LibDem Lefty videos together in Alinsky-like subversively comic fashion? You can even edit in the videos where Madame Speaker first screams to the skies about CIA lies, then fumbles and stumbles on the air for five minutes trying to remember her own. Make a whole skit out of it. Scenes with biased reporters getting “Alinskyed” when they preach about objectivity write themselves. And it will all be classic Saul Alinksy and SNL-style comedy fun, fun, fun!

I am finding more and more that the Alinsky Method of comedy is manic brilliance. As sophisticated and erudite as Tracy and Hepburn, yet as moronically slapstick as the Three Stooges. And that is the sheer Wile E. Coyote genius of the Alinsky Method. Turn the whole show on its head for all sides. It is as insidiously and comically brilliant as the wave of professional hit men sent to the Oktoberfest in Munich to assassinate Inspector Clouseau, then wound up killing each other off to the last man.

For forty years the American Left has been having all the fun adhering to the Alinsky Method. Even drove its most charismatic protege into the White House, and his fellow Alinskyites to near-absolute power in Congress. Sans humor, but what do want from the Left? Yet the blackly comic Alinsky Method of today may yet drive that same humorless old school Alinsky army to Exit Stage Left faster than you can say “ACORN!” And that is the sheer subversive comic ingenuity of the Great Mr. Alinsky.

I know that wherever he is today (and I really hope it’s Heaven, he deserves it), the great Saul Alinsky is smiling down on the absurdity of it all. He must have been rolling on the streets of gold when he saw that first Pimp and Ho video, at least as much as when he saw Eddie Murphy’s White Like Me skit. Life Is Beautiful, and so is Saul Alinsky. May he forever Rest in Peace. At least during the times he isn’t falling to pieces over the ACORN videos, and glowing in the realization that it is all his fault.

Alinsky seminar over. Here’s your reading assignment: the Master’s Playboy interview. Let’s get busy, people! Oh, and if want a tagline for my recommended Pelosi comedy montage, my pick is PELOSI LIES, THE CIA AND FREEDOM OF SPEECH DIES! It’s all in how you pitch it, folks. I would also recommend as a great source of material the Alinksy-like pics and videos of Lefty protests in the past, for both side-by-sides and slogans of our own. Just like the Viet Cong scavenged our unexploded bombs to use against us, but much better. It’s all in fun, and nobody loses an eye.

God Bless You Mr. Alinsky, wherever you are. Wiseass punk! Ledger’s Joker ain’t got nothin’ on you!