The Golden Girls

10 Memorable Moments From Broadway Legend Elaine Stritch’s Career

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Elaine Stritch might be Broadway’s greatest living legend. At 89 years old, the star has appeared on international stages in classic productions of Company, Bus Stop, Who’s Afraid of Virginia Woolf, and Mame, as well as a popping up in acclaimed performances in Woody Allen’s September and as Jack Donaghy’s mother on 30 Rock (a role for which she won an Emmy). Today sees the release of a documentary about her long, storied career called Elaine Stritch: Shoot Me. A loving and touching portrait of the actor as she looks back at her life’s work and prepares to retire to her hometown of Detroit, the film features interviews from frequent collaborators and friends such as Alec Baldwin, Tina Fey, John Turturro, and the late James Gandolfini. To celebrate the release, here’s a look back at some of the best moments from her versatile career on stage and screen.
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25 Great Sitcoms You Can Watch Right Now on YouTube

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A few weeks back, we pointed you in the direction of some great movies streaming free on YouTube. Now, if you wanna watch free TV online without a Netflix or Hulu Plus membership, the proposition gets a little trickier — those copyrights are guarded a bit more zealously, and the viewing experience can be, to put it charitably, spotty. That’s why sitcoms are so good for YouTube viewing; as long as you have a passing familiarity with the characters, it’s easy to sample an episode here and there on a lunch break and not have to worry about serialized arcs and continuity issues. Here are some of the best sitcoms in television history that have at least a handful of episodes on …Read More

What’s Wrong With the Dirty, Old Betty White?

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Betty White has become a national treasure in the last few years, possibly because, despite her age (she’s currently 91), she seems to have the presence of mind to deliver lines and, you know, stand upright on her own. It’s a rarity for an elderly performer to achieve such hero status (especially a female entertainer), which is what makes White such a refreshing actress: she appeals more to female and gay audiences then your typical white, straight American males. Moreover, her most frequent bits as of late — the ones that are written for her, of course — are heavily sexualized, featuring tongue-in-cheek innuendos and double entendres. But is the sexualization of the nonagenarian evidence of our culture’s exploitative obsession with turning sex into a big joke?
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