5 Celebrity Friendships We Wish Were a Little Less Platonic

The Supreme Court didn’t technically edit the constitution like a rough draft and deem same-sex couples all over the United States the right to marry. Buuut, it did decline the prospect of ruling it unlawful. Couples in the five states immediately affected were rushing to the courthouse to officially unite their love.

In honor of the growing triumphs in the gay community, we put together a collection of same-sex celebrity best friends that should take advantage of the ruling.

1. Cara Delevingne & Rihanna BFA_10052_1212416Photo: David X Prutting/BFAnyc.com

If these two tied the knot it would be the ultimate it-girl power couple. Rihanna’s killer vocals along with amazing personal style combined with Cara’s model-status and eyebrows make these BFFs the ideal couple. The pair have tendencies to run around in bikinis on yachts together and that’s a site we’d never get tired of seeing.

2. Matt Damon & Ben Affleck Screen-Shot-2014-10-06-at-9.15.43-PMPhotos: Benjamin Lozovsky/BFAnyc.com & Billy Farrell/BFAnyc.com

There are two milestones a couple accomplishes in their life. One is winning an Oscar together and another is getting married. These two obviously have already won the Oscar together for “Good Will Hunting” so naturally it’s time to tie the knot.

3. Tina Fey & Amy PoehlerScreen-Shot-2014-10-06-at-9.24.32-PMPhotos: Reed Blackwater/BFAnyc.com & Billy Farrell/BFAnyc.com

If Tina Fey and Amy Poehler got married and had a child it would be the next Joan Rivers. These two funny ladies pack so many laughs and talent, their holy matrimony would be truly historical.

4. Kanye West & Jay-ZBFA_2381_254916Photo: David X Prutting/BFAnyc.com 

I know the marriage of sir Jay-Z and Queen Beyoncé brings a whole new meaning to the term power couple, but could you imagine if Jay decided to tie the knot with long time BFF Kanye West? They could easily drive to Illuminati meetings together and even share Givenchy tees.

5. Beyoncé & Gwyneth Paltrow Screen-Shot-2014-10-06-at-9.46.42-PMPhotos: Billy Farrel/BFAnyc.com & Julian Mackler/BFAnyc.com 

You didn’t think we’d leave Beyoncé in the dust, did you? Of course it only makes sense that she and kale-loving BFF Gwyneth Paltrow do the world a favor and unite as what would clearly be the world’s most powerful and gorgeous couple. Maybe Gwyneth is saying sayonara to Chris Martin in hopes of getting closer to Queen Bey. One can dream.



From Bartender to Mayhem Man: Talking to Dean Winters

Dean Winters is living that dream. A long time ago, in a galaxy far, far away, he was a NYC bartender pursuing an acting career. He worked all over town and everybody knew him. He was and still is one of the good guys. In the mid ‘90s he broke out big with numerous TV roles. His Ryan O’Reily character on Oz had me tuning in for years. His Johnny Gavin on Rescue Me kept me glued to the set. Now, because of a TV commercial deal that he almost turned down, he is recognizable to everyone. He is Mayhem, that Allstate gremlin of a man that shows us how dangerous and unpredictable our world can be. He knows a little about that. He had a near-death experience in June 2009 that left him little short in some areas but certainly long in experience and self-awareness. He has always been a friend and supporter of mine, and when he sent me the following e-mail, I gladly gave him this space to tell us all about it:

"Hi, I’m a big supporter of The Heroes Project and I’m excited to finally share the campaign we’ve been working on. I just launched a Wish on Facebook Causes to support the organization. The funds raised will go toward The Heroes Project’s upcoming Indonesia climb with US Army Retired Sgt. Noah Galloway who lost his left arm above the elbow and left leg above the knee in an IED attack in Yusufiyah, Iraq. You can check out the Wish page and donate here. This project is near and dear to my heart so I’m trying to get the word out wherever possible. Any love you can show on Facebook or Twitter would be greatly appreciated! Thanks, Dean"

How did you get involved with The Heroes Project?
I was introduced to ‘Big Tim’ Medvetz by my L.A. family Richard and Laurie Stark, creators of the Chrome Hearts dynasty, a couple of years back. Tim and I immediately became fast friends. He had been a bouncer at Hogs ‘N Hefers back in the day and a former Hell’s Angel. A number of the Angel’s had been on Oz and I had bartendeded in the clubs so we had immediate common ground. The guy is built like a brick shithouse: 6’5" at around 250lbs – the kind of guy you want on your side, no matter what. Cher, who is also a member of the L.A. family, was an early advocate of The Heroes Project as well, so all of their passion for this project was intoxicating. Having a climbing background as well provided this whole experience for me to be a no-brainer.

What can people do?
People can simply go to The Heroes Project website and donate 10, 20, 50 bucks, any amount helps really, to help fund Tim’s next climb. It is Tim’s sole mission to help restore the confidence in America’s finest young soldier’s after they have suffered these debilitating injuries, by getting them to face their worst fears realized and helping them to climb these peaks all over the world. Watching these young soldier’s summit with prosthetic arms and legs has been a life highlight for me. I’m hoping it will be for other folks as well. Like so many others, you were a bartender in NYC chasing a dream to be an actor. I guess nowadays you are recognized as “that Mayhem dude.” Tell me how you worked at being an actor, your breakout, your career, and where you are going? Also… do you miss bartending sometimes? 
I have had a very rewarding and a very peculiar career, one that I could never have come close to predicting. I have been fastidious to a point of nausea by trying to remain a NY actor. I like L.A. but only for a quick wind sprint, but I also realize that that is really where the business is so I am planning to spend more time there in the future. When we did Oz, which was the first drama series on cable, it was so raw, in-your-face, and new that I think we were all scratching our heads when it was over and thinking “now what?”

Tina Fey and every single faction of 30 Rock has been an absolute gift to me; that cast is one of the fiercest casts in the history of television. So with Oz, 30 Rock, Rescue Me and Law and Order: SVU, I have been spoiled in NYC. Everyone in this business knows that to be spoiled as an actor in NY is the Holy Grail. When Allstate first came to me with the Mayhem campaign, I was reluctant. My smartass answer was no because I became an actor so I wouldn’t have to put on a suit and sell insurance. My dumb ass. My managers – Bill Butler and Sandra Chang – quickly steered me in the right direction. I’m lost without them, and this campaign has been one of the most rewarding experiences of my life. One of the smartest decisions anyone has ever made for me (wink*). The sheer talent behind the people at Allstate and Leo Burnett (the ad agency out of Chicago led by Britt Nolan) is mind boggling. The creativity in the campaign is beyond what I would ever have expected.

As for bartending, I worked in 17 bars and clubs in the ‘90s. I do miss it sometimes. The music back then – the actual clubs – nothing like that will ever happen again in NY. You can thank the real estate market and a few no-fun politicians for that. With bartending came a certain amount of power and control – two things I am missing in my career these days. It was fun to be the captain of a crazy ship every night, never knowing where your actual destination was or where you were going to possibly be shipwrecked. Wouldn’t trade those days for anything.

I still run into you on occasion at a club or an event. Where do you like to go and what is it about the night that still draws you to it?
It’s always a pleasure to run into you Steve. I feel like I’m not the only one looking around wondering “what happened?” It’s different now, yes, but you have to admire the moves these young guns have made. Richie, Scott, Jason, Noah, Satsky, Ronnie, The SL crew. I mean I remember when those guys all reported to you. Now they have legitimate empires. Very impressive. I’m an old house-head and that music is slowly disappearing into this new horrible cesspool of dance music. You couldn’t fuck with the likes of Junior, Danny, Frankie, Little Louie, Victor, Boris. And sometimes they all played on the same night at different clubs around the city. Insane. I’ll dip into Provac or Pacha for the house. Ritchie, Scott, Noah, and Jason seemed to have pinned down the baby giraffe crew.

God bless Amy Sacco and David Rabin, true warriors if there ever were any in NYC. David was actually the first club owner I ever worked for, back at Rex. I’m also real happy in my hood. A pint of Guinness at Ear Inn suits me just fine these days. Don Hill was a very close friend of mine and his passing rattled NY nightlife to the bone. I truly miss that man. NY is NY though; it is the greatest city on the planet, nothing even comes close. I am very proud to be from here; I couldn’t imagine living anywhere else.

Full ‘Anchorman 2’ Trailer Voids Any Hope For Funny Sequel

In the pantheon of somewhat amusing things run into the ground by an appalling fan base, the first Anchorman film certainly has a place of pride. Its admittedly enjoyable premise—satirizing the sexual mores of the 1970s with three-degrees less subtlety than Mad Men employs when mocking the 1960s—became something for fratty, Family Guy-watching bros to quote without the slightest sense of irony. Anchorman 2 should almost definitely make things worse.

Even for a sequel, the set-up here is drab: instead of the 1970s, it’s the 1980s, because times change and also they ran out of 1970s jokes in the first movie. The original news team—Ron, Champ, Brian and Brick, and maybe the newswoman played by Christina Applegate, if they remember—set out to create a 24-hour news channel, so expect lots of potshots at CNN. Thankfully, the network fully deserves them.

The flip side to this plot is Will Ferrell’s terminally-oblivious Ron Burgundy is dating a black woman, which gives him the opportunity to spout racist commentary at dinner with her extended family. Humor! What remains to be seen is which of the seemingly hundreds of cameos will be worst: the cast, according to IMDb, includes Nicole Kidman, Liam Neeson, Kirsten Dunst, Sacha Baron Cohen, Harrison Ford, Kanye West, Greg Kinnear, Tina Fey, and Amy Poehler, none of whom exactly need to lend their name to trash like this. Okay, maybe Kanye. 

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Abby Rosebrock Opens Up About Writing and Starring in Her Fantastic New Play ‘Different Animals’

Anne Sexton’s poem "For My Lover, Returning to His Wife," ends with the line: "As for me, I am watercolor. I wash off." She’s just addressed the letting go of love and the acceptance that she’s been but a passing fancy, a mirage in a passionless period of life, "littleneck clams out of season," "a bright red stoop in the harbor." So she "gives him back his heart," giving him permission to return to that which makes him whole, not that which simply excites him. It’s a saddening poem, but when it comes to love, sex, relationships, or simply trying to connect with other human beings, it’s all very tricky territory.

We all carry the same desires, and yet we end up running around life as if blindfolded, ending up with all the wrong people, in all the wrong places, looking for some semblance of what it is we’re after. But love isn’t always a choice, and the way it works into your veins has little to do with consciousness. Your need for a person outweighs your ability to thrive on anything else, and until that wish is fulfilled you pine and pine before accepting that you must either go after what you want, or suppress your feelings. Either decision is frightening and leaves you feeling as if you could have done something differently. You can never be sure.

And with Abby Rosebrock’s fantastic new play Different Animals, directed by Bruce Ornstein, she explores that rift between romantic love and connecting with the world. Bright, hilarious, and filled with authentic drama and personality, Rosebrock gives us a unique tale of four South Carolinians as their romantic trials and tribulations lead them into adultery, blackmail, polygamy, and Olive Garden bathrooms. Rosebrock plays Molly, a vivacious and permanently manic young woman obsessively in love with a totally normal middle-aged man, Leo (played by Dirk Keysser). The trouble is, Leo happens to be married to the very sweet but clearly unhappy in her marriage Jessica, played by Cesa Pledger.

That unhappiness takes the form of an affair with the handsome young town pastor, Will, played by Brady Kirchberg.  Jessica and Will try to keep things casual without disrupting her marriage to Leo, but when Molly pounces on Leo and inserts herself into the picture, the pleasantly dull marriage morphs into a ménage à trois. It’s a brilliantly done modern study of marriage and the decline of monogomy that forces you to turn your own conventions inside out and reconsider the possibilities of love and what it means to actually want to be with someone, what that connection actually asks of you, and how far you’re willing to go for it. The women of the play may be young, but they feel as though they’ve lead full lives and are as richly dynamic as they are hilarious and ridiculous. 

Last week, I got to chat with Rosebrock about her Medieval background, bringing Different Animals to life, and longing for something more than sex in an Olive Garden.

You didn’t start out as a playwright, you’re actually studying literature.Yeah, I still am getting a PhD in Medieval English literature at Columbia, but I’d always wanted to be an actress. I’d done all different kinds of writing in different genres but I took an acting class when I just couldn’t take not acting anymore. And I started writing some scenes for class and thought I should write a full-length, and that is how this happened.

But you trained at Upright Citizens Brigade as well?
I did about a year of training at UCB before I started acting. It was really great and opened up the entire world for me. 
I’m sure it’s a totally different environment or way of thinking for you who have been working in a more academic mindset.
Conceptually it’s exactly the opposite, because academia is all about critique and deconstructing things and finding inconsistencies and problems, and improv is all about creating something from nothing, constructing things, accepting whatever you’re given.
Was improv something that came naturally for you? I find it terribly frightening.
Yeah, it’s really scary for me, and I think for everyone who does it. But it’s really great training for your brain. It forces you to ignore the judgmental critical signals in your brain that shut you down when you feel afraid. 
So how did you become a part of Bruce’s workshop?
I was living with a boyfriend—who is no longer my boyfriend but we still swap writing—and he just kept pushing me to act because we kept watching movies and I apparently kept saying how much I wanted to be in them, and he sensed that I was miserable without acting. So he made me sign up for a class and I found Bruce’s. I could afford it and he seemed nice and accessible, so I started and the rest is history. 
Did you do a lot of acting when you were younger?
Yeah, when I was little I did a lot of community theater in South Carolina and I always wanted to be an actor but just got really depressed when I moved to the city for college. But that was also when I found literature; I had never been a very literary person or much of a reader before, so I got distracted with that for a few years. 
How did you begin writing for the stage? Did it begin with shorter scenes for class?
Well, I wrote some very short plays and one acts for class because I noticed other people were doing that too. Also, pretty much all playwriting is about conflict, and, coming from an improv background, I didn’t know what to make of all the fighting and bickering that I was seeing in published plays. So I thought this was a great opportunity to use what sketch writing training I have from UCB and join the ranks of kids who were writing their own stuff. I had a couple of works in a showcase that Bruce did and he liked them enough to encourage me to write a full-length. So I drafted this play really fast, in like a week or so, but that first version is just entirely different from what I have now. I spent a year revising it with Bruce’s help and the workshop’s help.
Was it totally different when you began? How did it morph into what it is now?
When I first showed it to Bruce he said it was a bit unfocused and had a few characters with a lot of emotional meat and some characters that are completely superfluous, so with his help I narrowed it down to the four characters that I was most interested in. I had just been in a wedding in the Domincan Republic, so I had a character that was from Santo Domingo and I still kind of like him. I think he deserves his own play. But now it’s hard to imagine anything in this play taking place outside of Spartanburg.
Did you write the character of Molly knowing you were going to play her?
I originally wrote Jessica for me.
After seeing it, it’s not only hard to imagine you being Jesscia, but someone else playing Molly.
Very early, I imagined her being for me but it quickly became clear that Molly was going to be a more fun character to play, so I selfishly switched my allegiances to Molly. 
What was the casting process like?
Dirk reminded me of my dad. I mean, it’s funny, Leo isn’t based on my dad at all but the way he speaks, his idiom or whatever is totally just my dad’s voice that I stole, and Dirk struck me as someone who could do that.
And the Cherry Lane Theater is an incredible place to have your first show. I’m sure this is a great place to come and work everyday.
Totally. Yeah, we had a couple of options, I wasn’t a party to a lot of that stuff. We ended up here and it was a dream come true. People hear the name and want to see the show. 
The show has a lot of musical interludes, which I loved. How did you decide what you wanted for those?
I only listen to music that my brother got me into in the early ’90s and I wanted something to capture a southern flavor. It became clear we needed music because the sets that were designed were pretty complicated and take time to switch in and out.
Did growing up in North Carolina inform this show a lot for you? Were there a lot of real people or experiences you drew from your hometown?
Yeah, totally. I almost feel like I don’t have anything left to write about now because so many of the things that I think about my past are poured into this play. No one character is based on someone I knew, and no one situation is based on real things that have actually happened, but recently some stories about people I went to church with growing up have come to light, and people who had wild affairs that everyone knew about. I did, however, go to church school and learn how to give a blowjob on a Twix bar, like in the show.
There were a lot of little lines and moments like that that felt like you knew they were coming from somewhere personal.
Yeah, so much of our social lives were wrapped up in church growing up that it was sort of this lascivious exciting place where you’d go and hook up with people or drama would always go down. I wanted to capture that somehow.
What playwrights do you love?
I do read plays and go to plays all the time, but I think the writers that I most admire most are on television, like Mindy Kaling, Tina Fey, Amy Poehler. 
Yes, I happen to love The Mindy Project in a really strange way.
And, weirdly, her character is dating a Lutheran minister. 
So much of this play seems to be about romantic desire versus what happens when you actually obtain the object of affection, and the claustrophobia of being connected to someone else.
I always want to write comedies that are romantic. I always want to write about relationships and sex, and I always want it to be funny. That’s the theme that most breaks my heart that I want to explore. When you finally do achieve what you want to achieve, or land the person you want to land, you’re suddenly stuck with all this loneliness in a way, and it sucks, it’s so sad. A mentor of mine who was my Russian literature teacher in college was responding to a draft and mentioned that there are all these confined spaces in the play. And then Cesa said something like this too when she was working on Jessica. She realized that Jessica has sex in an Olive Garden, she works in a Barnes & Noble, her husband’s stuck in a cubicle all day—everyone feels like they live in a shoebox, and I think there’s something thematically significant about that. All of the closed-in spaces and the desire to be a part of something bigger and more meaningful than having sex in an Olive Garden bathroom.
Do you think your medieval studies have helped you in your writing?
I’ve had a lot of teaching I’ve had to do through Columbia, so that’s been really helpful. It’s like you get fifteen students where you just do a character study of all of them over the course of a semester, and getting to see people and their creative process—because it’s a writing class that I’ve been teaching—so I feel like teaching has given me a lot of food for thought. I wrote a chapter recently on The Wife of Bath’s prologue, it’s truly the most hilarious brilliant thing. Have you read it?
I have not.
I don’t necessarily like that period more than the 19th or 20th Century, so I feel like I’m pretty objective when I say that it is one of the best pieces of writing of all time. It’s hysterically funny and it’s basically a standup routine of this woman talking about her five marriages and her romantic exploits. It’s this disorganized ramble full of joke after joke after joke, and the character so clearly emerges from the page. I think that kind of humor is something I’d like to achieve in my own wiring; I can never aspire to be Chaucer, but there is a lot of emotional intensity in medieval that has a very special quality, a spiritual intensity that you don’t necessarily get in later periods that are less inflected with religion. So that’s probably useful in my writing. It’s hard to get past all the religious dogma in a lot of those texts, but once you do, the wildness of the people’s feelings and experiences is really something special.

Amy Poehler and Tina Fey Respond to Taylor Swift

I imagine that Amy Poehler and Tina Fey typically ignore the things that other people say about them, in print no less, but I suppose when a 23-year-old suggests that you’ll burn in hell, it’s time to make a statement. "Aw, I feel bad if she was upset," Poehler told The Hollywood Reporter. "I am a feminist, and she is a young and talented girl. That being said, I do agree I am going to hell. But for other reasons. Mostly boring tax stuff." Meanwhile, Fey spoke to Entertainment Tonight, and her response to Swift’s notion that she was a woman-hating monster from hell was as follows: "If anyone was going to get mad at us, I thought it would be James Cameron. I did not see that one coming. It was a joke. It was a lighthearted joke." Meanwhile, no one has bothered asking Michael J. Fox’s son how he feels.

[via THR / ET]

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Amy Poehler and Tina Fey Are Probably Laughing Into Their Copies of ‘Vanity Fair’

"There’s a special place in hell for women who don’t help other women," Katie Couric apparently told Taylor Swift once, which Swift reveals in this month’s Vanity Fair cover story while giving a metaphoric side-eye to Amy Poehler and Tina Fey. This is, of course, in response to Poehler and Fey joking about Swift’s love life at the Golden Globes back in January (when they told her to stay away from Michael J. Fox’s son). Can’t you just imagine those two fortysomething mean girls Tina and Amy calling each other this morning, giggling and scribbling over Taylor’s face in their burn books? I bet one of them will call to apologize, but the other one will be listening in on a sneaky three-way call. It’s kind of a shame, huh, that Tina Fey and Amy Poehler care so much about Taylor Swift. Ugh, they are probably JUST JEALOUS. 

[via Vanity Fair]

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Tina Fey Is Too Smart To Host the Oscars

Oh brother, it is Wednesday morning and we’re still talking about the Oscars. You know how everyone this week is like, "Oh man, can’t we just get Amy Poehler and Tina Fey to host everything?" Well, Tina Fey has spoken out and was all, "Hell no, I’m not hosting the Oscars!" See, Tina Fey is a smart lady who doesn’t set herself up for failure. Perhaps we should all look to her as our mentor and wisely bow out of situations in which we will all look like fools. It’s a shame, though, because it seems like the bar is set so low that there’s no way Fey could fail, but she cites the pressure being too high, especially for a woman. "The amount of months that would be spent trying on dresses alone," she lamented. "No way." Alas. Let’s all send out some frowny emoticons on Twitter today or something.

[via HuffPo]

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Before We Say Goodbye to ’30 Rock,’ One Final ‘Ask Tina’

Tonight, a nation will temper its feelings with night cheese and sob into its bottles of hill people milk. After seven seasons, 30 Rock is ending, and far more intelligent people have said far more intelligent things about this fact, but for now, I’ll say that like you, maybe, probably, I’m really gonna miss it, you guys. It was silly and it was fun and even if it wasn’t always perfect and Tina Fey isn’t a goddess to everyone, it got people to talk about women in comedy and how women and feminism are portrayed in comedy and perceived because of those portrayals and even on the Internet there were really important and relevant conversations happening. And what other show could get Oprah to guest-star as a sleeping-pill-induced hallucination? 

Before Tina Fey, Tracy Morgan and the crew ride off into the glorious sunset that is eternal syndication, Fey returned to NBC for one last session of her fan-mail show, "Ask Tina" ("Memorize how old I look!"). In it, Fey discusses her affinity for Werthers Originals, differences from Liz Lemon and lists all the shows she’s excited to finally catch up on now that she’s done with her own show, from Homeland to Match Game ’72. Guess it’s never too late for now. 

National Treasure Amy Poehler Also Writing A Book Now

Over the weekend, during the Screen Actors’ Guild Awards, NBC comedy showrunner Michael Schur pointed out on Twitter that National Treasure Amy Poehler has racked up 18 nominations (Emmys, Golden Globes, SAG Awards, TCA Awards, etc.) but has yet to actually win. (She does, however, have an MTV Movie Award for peeing in the sink in Baby Mama.) This is kind of a bummer.

But no matter how much silverware Poehler has upon her shelves, she has won the most important award of them all: America’s undying love and affection. From her high-strung camp musical director in Wet Hot American Summer to the best Weekend Update cohost ever on SNL to seasons of laughs as Leslie Knope to her adorable web series Smart Girls at the Party, Amy Poehler doesn’t need the validation of some dumb award show to kick ass and merit the love of the masses. She will continue to be Amy Poehler, and everything was beautiful and nothing hurt. 

But before this just turns into a National Treasure Amy Poehler Appreciation Post without any sort of news peg (we have Tumblr for that), there is a reason to mention Amy Poehler, as she will now be writing a book for HarperCollins’ It Books imprint. And before you can say Bossypants / Is Everyone Hanging Out Without Me? / Whatever Lena Dunham’s Book is Called, the book, scheduled for a 2014 release, is, according to the publisher, “inspired in part by Poehler’s interest in helping young women navigate the adult world" and “an illustrated, non-linear diary full of humor and honesty and brimming with true stories, fictional anecdotes and life lessons.” Illustrated, eh? No word yet on whether Poehler will be doing the illustrations herself, or if they’ll bring in Jerry to create a murinal on paper. Jerry is the worst.

Because there are no excerpts to read yet, let’s watch her and Tina Fey killing it at the Golden Globes again.