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  • Keith Olbermann Addresses the Guy Who Sat Behind Him at the Movie Theatre

    Finally, as promised, a special comment for the guy sitting behind me at the 9:15 showing of “Iron Man” last night.

    I don’t assume for a moment that you are familiar with Ralph Waldo Emerson, sir, but there may be something for you to learn in his aphorism, “Life is not so short but that there is always time enough for courtesy.”

    Because last night, before the movie even started, you abandoned courtesy with a swiftness bordering on psychotic.

    You saw fit, during the preview of “The Love Guru,” to voice the vulgar acts you would like to perpetrate on Jessica Alba. Your taste in female pulchritude notwithstanding, you’d do well to keep those comments to yourself. The imaginary exploits that were so intriguing to you held no such fascination for those of us within earshot of you, a group which, if I am not mistaken, included everyone in the theatre.

    Not content with that act of inconsideration, you took it upon yourself to begin nudging my seat.

    I am no Pollyanna; I know that a certain amount of jostling is to be expected even in a crowd of the most careful and considerate people. But it became clear that this shifting was not brought about by the act of innocently settling into your seat, but was rather the result of you propping your feet on the back of the empty chair to my left.

    I glanced back at you, hoping to remind you with my eyes that you were in fact not in your living room with a coffee table in front of you, but rather at a public venue filled with strangers who had paid for the privilege, not of listening to your witticisms, but of watching “Iron Man.”

    You gaped back at me with your uncomprehending eyes and finally asked, quoting here, “What is your problem?”

    (TITLE SCREEN: “What is your problem?” – The Guy Sitting Behind Me At The Movie Theatre)

    What is my problem? What is my problem, sir?

    That you would exhibit such blockheadedness that you wouldn’t know and/or care that your actions detracted from my experience. That you would be so brazen in your entitlement as to be immune to censure and embarrassment. That you would wait until the movie started before slowly and noisily unwrapping the cellophane on your box of Dots. That is my problem.

    When at last I stood up to leave that aisle and find another seat, suddenly you were aghast at my rudeness, snapping at me to sit down, and lambasting me for daring to block a portion of your view for three seconds’ worth of the film.

    It is at this moment that you made the transition from ignoramus to traitor. In spite of your impressive list of crimes against every other moviegoer in attendance, you chose to play the injured party – a sensitive, upstanding soul in a world gone mad – at the slightest hint of inconvenience presented to you.

    It is an upheaval of the social construct to expect the rest of us to conform to your gerrymandering standards of etiquette. That is my “problem.” That is the problem of every other paying audience member in that theatre. And at last, that is your problem, sir. For you have gotten this far in your life without the implications of that hypocrisy managing to creep their way into your skull.

    Finally, I appeal to your self-interest, since you have demonstrated your incapability to experience the slightest trace of empathy. Someday, perhaps not today, perhaps not tomorrow, but surely some future day, you will find yourself seated in front of a fellow audience member even more lowbred and oafish than you are.

    Perhaps he will demonstrate his intellectual vacuity by repeating every one of the movie’s idiotic punch lines. Perhaps he will answer several calls on his cell phone throughout the film. Perhaps he will bring a squirming toddler to an R-rated picture, and you will bear the brunt of all the fussing and scolding.

    Then you will realize too late which side of this social conflict you are on.

    Good night and good luck.

  • FSW: Bob’s Knob Shop

    I fear I may be alone again this week, folks. Michael’s nuptials are here (if you’ve enjoyed his sketches in the past like I have, you should go on over and wish him and the bride luck) and David’s been up against a wall at work for a long while now. This might be a one-man war band.

    Imagine indeed, Mr. Lennon.

    Bob’s Knob Spot
    (Bob, in his 50s and portly, stands front and center by the register of a cramped store. At the register is Mabel who may be in her 50s or may be in her 90s; it’s hard to tell. Behind them are tightly packed aisles filled with doorknobs. At point of sale are more doorknobs.)

    BOB
    Hi folks. Bob Pushkin at Bob’s Knob Spot here to tell you about this week’s deals. We’ve got a sale on all of last year’s six-centimeter, seven-centimeter, and nine-centimeter cabinet knobs. Round ones, square ones, wood ones, metal ones. It doesn’t matter, they’ve got to go. We’ve got to make room for the new models and have slashed our prices. Take this knob for example…

    (Mabel hands Bob a small knob for a cabinet drawer.)

    BOB
    Regularly priced at 89 cents, we’ve cut the price to 67 cents! That’s a savings of 25%! And it’s not just the base models, either…

    (Mabel hands Bob a small porcelain knob with a design painted on it.)

    BOB
    Take this Miller & Steen porcelain knob. Regularly $3.75, we’ve slashed the price to $2.50! Don’t miss out!

    And now it’s time for this week’s comparison shopper where Mabel and I go under cover around town and check out the prices at our competitors.

    (Mabel hands Bob a blister pack containing a full knob and lock assembly for a door.)

    I picked up this LockJaw doorknob at Stan’s Hinges and Doors for $37.99. Our price: $35!

    (Mabel hands Bob another packaged knob set.)

    Mabel picked this one up just last night. It’s a Knob Factory solid brass knob which we sell for $60. Mabel got this one at Beds, Knobs, and Broomsticks for $75. $75?! Don’t pay the markup at these high-priced shops, folks!

    (Mabel hands Bob another package.)

    This Shmekl & Petsl knobset in brushed aluminum came from Home Depot and cost..

    (Bob looks at the price…and then tosses the knob away.)

    Forget that folks. The big boxes can’t compete with our legendary service, anyway.

    Bob’s Knob Spot, at the Corner of the Sevens. Seventh street and Seventh avenue. Two miles south of the Expressway.

    BOB AND MABEL
    Come on in today and let us polish your knob!

  • FSW: Man Down Edition

    The day got away from me. End of the month is always hectic at work. Add in a little rehearsal, a lot of wedding stuff and you’ve got yourself a Sketch War without the “war”.

    Richard, The Universal Soldier, comes through as always with a topical sketch about the sleeper cell that is Rachel Ray.

    I haven’t heard from Dave since RAW closed. Hopefully he didn’t go overboard on the wine and end up in the Lake.

    I’m afraid the next couple weeks could be more of the same. I’ll try and get some things together so you won’t miss me while I’m off on the honeymoon.

  • Sketch War Salute

    We don’t have 21 guns or anything fancy like that. Just heaps of respect for a fine sketch comedy actor who has left us.

    Harvey Korman passed away last night. Probably best known for his stint on the Carol Burnett Show and his role as Hedley Lamarr in Blazing Saddles.

    I think part of the reason he was so well loved was all the times he cracked up because of something Tim Conway had done. Here’s one of my favorite moments.

    The planet just got a little less funny today.

  • FSW: Rachael Ray, Terrorist!

    Tough choice today. Most of the day, the topic below seemed the most obvious target. Then around 4:30 I heard Harvey Korman had died. I thought about trying to write a sketch in honor of his greatness, but I’m not worthy. I wanted to give him a sendoff fit for a king, but I’m just a lowly piss boy.

    So instead, watch and mourn (and by “mourn”, I mean “laugh your ass off”) here.

    Now that I’ve properly bummed y’all out, here’s this week’s effort

    Rachael Ray, Terrorist!
    (We’re in the middle of a park on a beautiful May day in our nation’s capital, cherry blossoms in full color, wispy white clouds gently tracing paths across the rich, azure sky. Front and center is Rachael Ray, played by a fat man in a wig. She holds a small Dunkin’ Donuts. She wears a keffiyeh.)

    RACHAEL
    Hi! I’m Rachael Ray! When I’m on the road, I can’t always whip up a batch of baba ghanoush and big bowl of tabbouleh. So when I’m craving that taste of home, I stop in at Dunkin’ Donuts for their all new Falafel Munchkins!

    (Opening the box, Rachael plucks out a little ball of fried garbanzo goodness. Between her sausage-like fingers, the falafel ball seems particularly delicate.)

    RACHAEL
    He’s so cute! Look at that.

    (She pops it in her mouth and her eyes roll back in her head like a fat man, wearing a wig, possessed by a demon of the sort that likes its garbanzo flour deep-fried.)

    RACHAEL
    Delish! You can really taste the EVOO they fried it in, too.

    (She quickly finishes off four more falafel. She reaches down and picks up a cup of Dunkin’ Donuts Iced Coffee.)

    RACHAEL
    Nothing better to wash down your awesome Dunkin’ Donuts Falafel Munchkins than fresh-brewed Dunkin’ Donuts Iced Coffee!

    (Like a Shop-Vac, she sucks it up the straw and down her mighty gullet.)

    RACHAEL
    Dunkin’ Donuts. It’s not just donuts anymore!

    CUT TO: News Studio
    (Michelle Malkin – played by an Asian man because it is so hard to find an actual Filipino Tranny willing to make fun of one of his/her own – sits next to FOX News anchor Megyn Kelly. Behind them a monitor shows the frozen and deeply disturbing image of Rachael.)

    MEGYN
    Michelle, tell the viewers at home what bothers you about this ad.

    MICHELLE
    You’re kidding me, right Barbie?

    MEGYN
    It’s Megyn.

    MICHELLE
    Whatever. Look. That fat cow is wearing a keffiyeh. Anyone who wears a keffiyeh is a terrorist. Anyone who defends anyone who wears a keffiyeh is a terrorist. Yassir Arafat used to wear a keffiyeh and he was a terrorist. Don’t you get it?

    MEGYN
    I’m trying to follow you…

    MICHELLE
    I’ll speak slower.

    MEGYN
    That would probably help. Thanks.

    MICHELLE
    Yassir Arafat wore a keffiyeh. Rachael Ray is wearing a keffiyeh. Clearly she’s just like him.

    MEGYN
    Didn’t Yassir Arafat also wear shoes?

    MICHELLE
    What’s your point, Barbie?

    MEGYN
    Megyn.

    MICHELLE
    Whatever.

    MEGYN
    You’re wearing shoes. Does that make you a terrorist, too?

    (Michelle sticks her fingers in her ears and hums and goes LALALALA very loudly.)

    MICHELLE
    (Sing-song) I can’t hear you.

    MEGYN
    Michelle. Michelle!

    (Michelle takes her fingers out of her ears.)

    MICHELLE
    I hope I’ve made my point.

    MEGYN
    Clearly.

    I have a statement from Dunkin’ Donuts here I’d like to read. It says, “It’s a goddamn black and white silk paisley scarf you ignorant slut. And we didn’t pick it. But we’re going to pull the ads anyway because we’re owned by the Carlyle Group and are a bunch of pussies afraid of a loud-mouthed Filipino Tranny.”

    What do you have to say to that?

    MICHELLE
    Dunkin’ Donuts can lick my balls. At least for the next three months until I see the special doctor.

    No one, but no one who wears a keffiyeh should be allowed to live. They should be marched off to concentration camps. And the parents who let their children wear that evil symbol of jihad are worse. That’s the most un-American thing a parent can do, is let their children wear a keffiyeh.

    (The monitor behind Michelle changes to show a photo of Meghan and Cindy McCain. Meghan proudly sports a keffiyeh. Not a black and white silk paisley scarf that a fashion-less Filipino Tranny might confuse, but a traditional keffiyeh.)

    MEGYN
    Michelle? Any comments on the photo on the monitor?

    MICHELLE
    Yeah. Barack Hussein Obama went to a Madrassa and Hilary Clinton is almost as much of a man as I still am.

    MEGYN
    Thanks, Michelle. We’ll be right back.

    BLACKOUT

  • Friday Night Sketch War: Round Sixteen

    As the three-day weekend rolls to a close, it’s time to announce the winners and losers of this past Friday’s battle royale. In another two-man fight to the death,

    • Coyote drew first blood with his katana…
    • Michael parried with his claymore. What sucked for Coyote, was the Claymore was of the landmine variety.

    Winner: Michael.

    While we’re enjoying the small duels, it’s about time some friends and family join in the battle. We’re not the only writers here; we shouldn’t be the only writers fighting on Fridays. Email a link to your sketch to sketchwar_at_dreamloom.com.

  • FSW: Office Edition

    Richard’s playing doctor this week.

    Dave is quiet at the moment. Perhaps his still dreaming about his dream job.

    Your sketch is probably really funny. But since you won’t let us read it we’ll never know.

    I really wanted to have a Memorial Day themed sketch today. But that just seemed like too much work. So here’s my entry this week.

    Enjoy.

    The Day Job

    (An office cubicle. Jarred sits at his desk entering data. He is having a hard time staying awake. Colleen enters and stands behind his chair, watching him work.)

    COLLEEN: Man, I love the way you tear into a spreadsheet.

    JARRED: (Not taking his eyes off the screen.) Hey, Colleen.

    COLLEEN: Seriously, it’s like watching Michelangelo paint the Sistine Chapel or something.

    JARRED: M-hm.

    COLLEEN: If I didn’t have my own work to do, I could just stand here, watching you do this all day long.

    JARRED: Thanks.

    (She pats him on the back.)

    COLLEEN: Well keep up the awesome, awe-inspiring work.

    JARRED: Will do.

    (Colleen exits. Barry pops his head over Jarred’s cube wall.)

    BARRY: Man, Colleen’s going a little overboard with this new positive reinforcement initiative, don’t you think?

    JARRED: Seriously. Does she really think going around to everyone and comparing their data entry to master painters is going to make us work harder?

    BARRY: She compared you to a painter?

    JARRED: Michelangelo.

    BARRY: She didn’t say anything like that to me.

    JARRED: No?

    BARRY: All I got was a blowjob.

    (Jarred stops typing.)

    BARRY: Well, better get back to it.

    (Barry disappears back to his cube. Jarred sighs and starts typing again.)

    BLACKOUT

  • FSW: On the Couch

    (Trevor lies on a couch, while behind him Mary sits in a chair taking notes. She is wearing a suit and glasses. Her hair is in a bun held together with a pencil.)

    MARY
    How are you feeling today, Trevor?

    TREVOR
    I’m okay. A little sluggish. Didn’t get a good night’s sleep.

    MARY
    Yes?

    TREVOR
    Restless. My dreams were too vivid, I think. Probably shouldn’t have had that burrito before bed.

    MARY
    Tell me about the burrito.

    TREVOR
    You don’t want to hear about the dreams?

    MARY
    I haven’t had breakfast yet. (BEAT) And sometimes a burrito is just a burrito.

    (They both chuckle at her bad joke.)

    Alright. Tell me about your dreams.

    TREVOR
    They started out like they always do. I was thirteen and mowing the lawn. It’s July and I’m working up quite a sweat. Now, our yard was pretty small, maybe a quarter-acre of grass to mow, but in my dream it’s this huge expanse. It’s at least three, four acres. And it feels like I’m pushing uphill in both directions.

    MARY
    (Furiously scribbling notes) Mmmhmm…

    TREVOR
    I keep thinking I’m going to run out of gas and need to fill up the tank, but it keeps going. Engine sputters a few times, but it just keeps running. The sun’s beating down and I’m sweating a ton.

    MARY
    What are you wearing?

    TREVOR
    Wearing? I guess I’m in shorts. I’ve never thought about…no, wait…I’m wearing my uniform from my first job.

    MARY
    What job is that?

    TREVOR
    I was the guy in the El Pollo Loco costume who held the sign down by the road. Terrible job. I lasted a month. I think that was a record. That costume smelled like cigarettes and puke.

    MARY
    So you’re mowing the lawn in the costume. Do you have on the chicken head?

    TREVOR
    No. Just the rest of it. The feet are huge, too.

    MARY
    (More energetic notetaking) Mmmm…

    TREVOR
    And then suddenly, I find myself lying by a pool.

    MARY
    Are you alone?

    TREVOR
    My mother’s there, feeding me grapes. It’s kind of weird.

    MARY
    Are you still in your costume?

    TREVOR
    No. I’m in swim trunks. And you’re there, too, painting my toenails.

    MARY
    (Notes) I’m there? Hmm. What are your mother and I wearing?

    TREVOR
    She’s in one of those old-timey swimsuits. You’re dressed like you are now. Suit, hair up, glasses.

    MARY
    Very interesting —

    TREVOR
    — I love you, Mary.

    MARY
    No, no, no. You’re just projecting your feelings onto me.

    TREVOR
    No, Mary, really I do.

    MARY
    (More notes) Mmmhmm. (BEAT) Tell me more about your mother. How does it make you feel when she feeds you these grapes.

    TREVOR
    I guess it makes me feel good. I was hot and thirsty, and the grapes are cool and moist in my mouth.

    MARY
    And what do you think the grapes represent?

    TREVOR
    Represent? I don’t know.

    MARY
    Okay, we’ll get back to that. Let’s move on to something else. Last time you said you were having some performance issues. How is that going?

    TREVOR
    I, I just can’t get excited anymore.

    MARY
    Does anything excite you? Any fantasies?

    TREVOR
    Um, this is kind of hard to say…

    MARY
    This is a safe place, Trevor. You can say anything in here.

    TREVOR
    When I woke up from the dream I was pretty excited.

    (Mary flips pages, she’s taking so many notes now. Her pencil breaks and she pulls the one out of her hair to continue unabated. Her hair falls around her shoulders.)

    MARY
    I think we’re about to have a breakthrough–

    (The door opens and Sally, a teenage girl, comes in.)

    SALLY
    Mom? There’s a call for you from the hospital. Something about seizures, or something? One of your patients.

    MARY
    (Getting up) Thanks, Sally.

    SALLY
    Dad? Can I borrow the car tonight?

    BLACKOUT

  • Friday Night Sketch War: Round Fifteen

    If you thought last week’s drunken scuffle was an embarrassment, wait until you see this week’s slap fight. There’s a rumor we might be joined by some fresh blood soon, so this lull in the war might merely be a short-lived ceasefire. Let’s hope.

    • Coyote wants to make an omelet, so he breaks a few eggs…
    • Michael has a date, but someone is ovulating.

    Clearly, we need more sketch writers to join in the festivities. Post your best and send an email to sketchwar_at_dreamloom.com.

  • FSW: Cop Out Edition

    So I’ve been a little busy lately. And more than a little unfocused. So the sketch I was working on for today didn’t really come together. But that doesn’t mean I’m going to leave you empty handed. I have this play I’ve been working on forever. A comedy, of course. About a poor fellow who goes out on a date with a woman who may or may not be murdering the men she goes out with. At the moment it’s titled The Blind Date Black Widow. This is a scene from early in the first act. Our hero, Mitch, has just had a little verbal confrontation with a nosy neighborlady and now his best friend, Stew, has come over. It’s set in Mitch’s tiny, one bedroom apartment. Please feel free to leave any feedback you may have.

    For those playing by the rules this week, Richard’s flown the coop and Dave has too.

    The Blind Date Bandit

    (The door begins to open but the chain catches it. There is a thud.)

    STEW: (Off) Ouch! Mitch, open up!

    MITCH: Hang on Stew.
    (He opens the door)
    Sorry about that.

    (Stewart, 30’s and husky, enters. He is wearing his police uniform.)

    STEW: Why are you using the chain?

    MITCH: Why don’t you knock like a normal person?

    STEW: Because you gave me a key.

    MITCH: I gave you that in case I lock myself out. Not so you could let yourself in here whenever you want. What if I was with someone?

    (Stewart makes himself at home. Getting a beer from the fridge, eating whatever food might be lying around.)

    STEW: Like who?

    MITCH: What if I had a date?

    STEW: I think I know you better than that.

    MITCH: What do you want, Stew?

    STEW: What do you mean?

    MITCH: What brings you by?

    STEW: Nothing. My shift ended early today so I thought I’d stop by and shoot the shit with you.
    (Beat) That’s an odd turn of phrase, isn’t it? Do you suppose people in olden times used to sit around and actually shoot shit?

    (Mitch just looks at him)

    STEW: What? The entomology of words and phrases has always fascinated me.

    MITCH: Don’t you mean etymology?

    STEW: Isn’t that the study of birds or something?

    MITCH: No, that’s ornithology.

    STEW: I thought that was teeth.

    MITCH: Maybe you should look into another hobby.

    STEW: Eh. So what are you cooking? It smells good.

    MITCH: Dinner for my date. Tonight. I hate to rush you out of here, but I still have to get ready.

    STEW: Is this one of the girls Alison set you up with?

    MITCH: No, Stewart, your wife had nothing to do with this date. Thank God.

    STEW: What’s that supposed to mean?

    MITCH: Alison’s a terrible matchmaker.

    STEW: Mitch, she runs her own dating service. I think she knows what she’s doing.

    MITCH: She’s set me up three times and every one was a complete disaster.

    STEW: You ever think that maybe that has more to do with the matchee than the matcher? I mean, they don’t just throw people together willy-nilly. There’s a science to it, Mitch.

    MITCH: Like physics and biology?

    STEW: Did you lie on your form? I bet you lied on your form. Trying to make yourself look better so you could rate a better class of woman.

    MITCH: I didn’t lie on my form.

    STEW: What did you put down as your occupation?

    MITCH: I don’t remember.

    STEW: Did you put down temp?

    MITCH: I told you, I don’t remember.

    STEW: No, you put down writer.

    MITCH: Just because I’ve never had anything published doesn’t mean I’m not a…hey, how did you know I put down writer? Does Alison let you look at the forms?

    STEW: Sometimes.

    MITCH: What about the confidentiality agreement?

    STEW: Mitch, I’m your best friend. I know more about you than what you put on a stupid dating service form. (Beat) And if you’re only 160 pounds, I’m Liza Minelli.

    MITCH: I had just gotten over the flu when I filled out that form. And the women she set me up with were all nuts.

    STEW: She screens her clients very well.

    MITCH: Stew, the last one was covered in tattoos.

    STEW: Tattoos are very sexy.

    MITCH: She had over a dozen Elvises on her ass.

    STEW: You got to see her ass? That sounds like a pretty good date to me.

    MITCH: Some of them had real hair for sideburns.

    (Alison bursts through the door. She is worked up. She heads straight for Stew.)

    ALISON: I thought I’d find you here.

    STEW: Honey, I was just on my way home. What’s up?

    ALISON: I’m ovulating.

    STEW: Now?

    ALISON: No, whenever it’s convenient for you, yes now!

    STEW: Okay, take it easy. Let’s go.

    (Alison begins undressing.)

    ALISON: There’s not enough time.

    MITCH: What’s going on here?

    STEW: We’re trying to have a baby.

    ALISON: Less talking, more undressing.
    (To Mitch)
    Stew’s sperm is a little sluggish.

    STEW: The doctor gave her these hormone pills that make her a little agitated sometimes.

    ALISON: Stewart, I swear to Christ, if we aren’t having sex in the next 38 seconds I will cut off Mr. Tinkle and feed him to the dog. Move!

    (She begins to drag Stew towards the bedroom. Mitch blocks them.)

    MITCH: Wait, I have a date tonight. You guys can’t do this here.

    ALISON: Mitch, once we get started it’s going to take all of seven minutes. Four if Speedy here would take off his pants already!

    (She reaches for Stew’s belt and begins taking off his pants.)

    STEW: We don’t want to mess up his sheets honey.

    ALISON: Fine!

    (She pulls Stew down behind the couch.)

    MITCH: Oh…I…uh…I think…wow…I’m going to check on my dinner.

    (Mitch exits into the kitchen. Stew and Alison are concealed behind the couch.)

    ALISON: You have to tilt it more!

    STEW: I’m tilting it as far as it’ll go.

    (The phone rings. Mitch enters and sees them and exits back into the kitchen.)

    ALISON: Farther!

    STEW: Ow! It doesn’t bend like that.

    (The phone rings.)

    ALISON: Answer the damn phone, Mitch!

    STEW: Honey, getting stressed like this isn’t helping.

    ALISON: PUT A BABY IN ME!