Tapio

Who’s the greatest Drummer if Neil Peart,John Bonham or Keith Moon didn’t exist?

As long as we’re doing Tim Heidecker stories I went to a T&E all-ages show when I was like 14 and when I got to the front of the line for them to sign my T shirt he had such an over-it “yeah whatever kid” attitude that it felt exactly like Bart Simpson meeting Krusty the Clown

Tim Heidecker snitched on my husband to the Feds. While not entirely out of character for an unfunny socialist like Tim, he tried to backtrack and delete his original tweet where he ID’d Jay to the FBI, only after the media ran with it and fans were being critical. It doesn’t seem like he had any remorse though, as he went on to write an article on his Substack, justifying his rat behavior because Jay was once “mean” to him at a bar like 25 years ago when Tim was still a tag-a-long newbie in LA. Nevermind that they worked together multiple times over the years after that, little Timmy doesn’t forget!

My list of weirdest, least intuitive major airport codes: - CGK: Jakarta - DMK: Bangkok - FCO: Rome - GIG: Rio de Janeiro - GMP: Seoul - GRU: Sao Paulo - MAA: Chennai - MCO: Orlando - MSY: New Orleans - ORD: Chicago - OTP: Bucharest - PVG: Shanghai - YUL: Montreal - YYZ: Toronto

As someone who lives in Minneapolis, it’s hilarious to see how much hate we get from MAGA online — only to walk out my door every day to see a beautiful, vibrant, and peaceful city. This is live from St. Anthony Main tonight, right outside my apartment. Best city in America. 🇺🇸

Q: Did you post that picture of yourself depicted as Jesus Christ? TRUMP: I did post it and I thought it was me as a doctor and had to do Red Cross. Only the fake news could come up with that one.

All the President’s Men turns 50 today. This famous “six‑minute shot” is a masterclass in phone acting and pure technical nerve. Director Alan J. Pakula and cinematographer Gordon Willis pull off a single, unbroken slow zoom: from a wide, humming newsroom to a tight close-up on Redford. No cuts. No safety net. Tension builds in real time. Redford carries it with typical quiet confidence. Six minutes of note-taking and talking into a phone, no flashy “Oscar clip.” He even flubs a name (“McGregor” for “Dahlberg”), corrects himself naturally, and Pakula keeps it because it feels authentic. The background is part of the story. As Woodward hones in on his phone call, everyone behind him huddles around a TV watching Senator Tom Eagleton resign. The contrast is deliberate: they chase the “obvious” headline, while the camera drifts past them to Woodward, and the real story. To hold Redford and the busy background in focus early on, they used a split‑diopter lens, then had to ease it out as the camera moves in. A technical tightrope. The timing of both actor and cinematographer is spot on. As Woodward closes in on the truth, the world literally falls away: the newsroom blurs, the noise fades, and we lock into his obsession. It’s one of cinema’s great moments: Redford doing almost nothing—and somehow everything at the same time. What makes this shot brilliant is the contrast it carves between Redford and the newsroom around him. The visual language does the talking: he’s locked in, disciplined, driven, all focus and fire. He stands apart because the work matters more than anything else.