Consult the Brosetta Stone.
Universal Pictures
↧
What Percent Bro Are You?
↧
Chloë Grace Moretz And The Stars Of "Neighbors 2: Sorority Rising" Assign Cast Superlatives
“Chloë is a little bit of a prankster.”
Universal / Alice Mongkongllite / BuzzFeed
THE WAIT IS ALMOST OVER! Neighbors 2: Sorority Rising is set to come out soon and let's just say we're a little (OK, A LOT) excited. We sat down with the movie's stars — Chloë Grace Moretz, Rose Byrne, Beanie Feldstein, Kiersey Clemons, and their director Nick Stoller — who had some fun assigning cast superlatives to their friends in the film.
Who is most likely to be found at craft services?
Kiersey Clemons: Me?
Beanie Feldstein: I was gonna say, Clara [Mamet]!
Nick Stoller: I don't want to offend anyone — that's a hornet's nest!
Rose Byrnes: Me. I'm nominating myself. Is that allowed?
Chloë Grace Moretz: Yeah, most likely.
BuzzFeed
Most likely to pull a prank on set?
Nick: Chloë is a little bit of a prankster! I would say she has a little bit of a prank quality. Out of everyone, maybe her.
Chloë: Awkwafina [Nora Lum] — she's always doing that.
Kiersey: Awkwafina?
Beanie: Yeah — Awkwafina! She's the craziest.
Kiersey: She has the best jokes.
Beanie: Or Ike?
Kiersey: Yeah, Ike is a good one. Actually Ike.
BuzzFeed
↧
↧
Seth Rogen, Chloë Grace Moretz, And The Cast Of "Neighbors 2: Sorority Rising" Partied Live On The Red Carpet
Jell-O shots + flip cup + Zac’s abs = oh my.
Alberto E. Rodriguez / Getty Images
Valerie Macon / AFP / Getty Images
↧
Ashton Kutcher's Neighbor War
Ashton Kutcher got woken up by some construction next door, and he’s not happy about it. Naturally, he is vlogging and Twittering his displeasure (“for legal purposes”).
The Best Links:
↧
Guy With Sword Interrupts Neighbor's Porn
Some guy was watching porn by himself in his apartment when his downstairs neighbor kicked in his door and confronted him with a “three-foot long sword,” thinking someone was being raped. The porn watcher told the reporter that it won’t stop him from watching porn in the future.
↧
↧
Pregnant Wife Doesn't Need The Munchies
But it’s medicinal! The neighbors are just trying to help.
↧
The Worst Neighbor In America
Neighbors say they don’t hate Dale McDaniel, even though he’s chased several of them with a chainsaw. He also tends to slap people in the face with fish. Oh, Florida.
↧
Neighbor's Worst Day
I don’t think cursing at the lawnmower will make it stop stalling. But hey, it’s worth a shot.
↧
Dubstep Remix Of Neighbors Having Sex [Not Safe For Ears]
When his noisy neighbors left their windows open, this guy recorded the sounds and uploaded it to Soundcloud. Of course, a dubstep remix happened.
His passive-aggressive note to the neighbors:
The original sounds:
The dubstep remix
Via soundcloud.com
Via reddit.com
↧
↧
The One Thing You Can Do To Save A Life In The Aftermath Of Hurricane Sandy
Check in on older people who live alone. “It behooves neighbors to adopt a senior who is alone, and just as you provision for yourself, make sure they have food,” says an expert.
Emergency workers rescue a woman and her dog from flooding in Little Ferry, New Jersey, October 30.
Adam Hunger / Reuters
After major disasters, older people who live alone have historically been among the most vulnerable. And in the wake of Hurricane Sandy, they may be the most in need of help.
"Those older adults who are hidden, lost, unknown, not connected in any way face a particular risk" in natural disasters, says Fredda Vladeck, director of a program at New York's United Hospital Fund that focuses on seniors and their communities.
The lessons of recent history — from New Orleans to Chicago to Paris — have underscored this risk. One federal study found that during the Paris heat wave of 2003, those most likely to die were women 75 and over who lived alone.
"What we have learned from both the heat wave in Chicago and from Hurricane Katrina is that while everyone was vulnerable at some level, older people who lived alone were especially at risk," the sociologist Eric Klinenberg, author of a book on the Chicago heat wave of 1995, told BuzzFeed Shift.
"There's already a sense this week that the city is back to work and that the storm has passed," he said, "but we just don't know whats happening with older people who live downtown" or in other areas with severe flooding.
They may well be struggling — Vladeck says some seniors in the Fulton Houses, a city housing development in Chelsea, were going without the home care they needed after the storm hit. But other tenants of the development have stepped up, going door-to-door to make sure their older neighbors have the food and medical care they need.
That's something able-bodied people anywhere can do for their neighbors after a disaster like this one, says Vladeck: "it behooves neighbors to adopt a senior who is alone, and just as you provision for yourself, make sure they have food." And make sure they have a working flashlight with batteries, any medication they need, and water, since seniors can be especially vulnerable to dehydration. Klinenberg also suggests trying to get them a battery-powered radio and "some way of communicating, even if that means a bullhorn."
If neighbors need help caring for seniors in their area, they can contact city services (in New York, Vladeck says the first step is to call 311, which can dispatch callers to the city's Department for the Aging). Another option is to contact a local senior center. But, says Vladeck, "where you've got neighbors who are mobile, there's much they can do on their own."
In the long run, Klinenberg says city governments could help by keeping lists of older people who live alone and may be especially vulnerable, so they know where they are before a disaster. And neighbors, too, could get to know single seniors in their area so they'll be aware of who to check on when a storm like Sandy comes. "We have good evidence to believe that unfortunately these conditions will return," Klinenberg says, "and we need to rethink what it means to do homeland security" — meaning protecting citizens of all ages from the weather as well as terrorism. "I hope that given all the terrible things that have happened this last week," he adds, "one upshot is we learn that lesson and begin to change."
↧
21 Wonderfully Passive Aggressive Neighbors
Because sometimes you just don’t want to say it to their face.
The person who made the best of a shitty situation.
Whoever had trouble spelling "feces."
Zack L's worst nightmare.
This creative dog owner.
↧
Forbidden Love Story Has A Happy Ending
A doomed interspecies love affair is given new hope thanks to the intervention of caring neighbors. So poignant. (Thanks, Mary and Victoria!)
↧
The 16 Most Awe-Inspiring Parts Of The "Neighbors" TV Spot With Zac Efron
It’s. Too. Much.
The very first moment you see Zac and he is shirtless and his lips are pursed like this:
And then he unpurses them as his chest lets out a deep sigh.
When he stood there shirtless and his eyes darted around and you could still see his breathing movements:
When he turned his head to the right and you fainted at the sight of his perfectly square jaw.
↧
↧
Dave Franco And Chris Mintz-Plasse Are Taking You On A Cross Country Road Trip
The Neighbors costars are only one day in and it’s already amazing.
Dave Franco and Chris Mintz-Plasse are travelling across the US for a week for a LG campaign and are documenting it on Instagram.
So far there have been cats in ties.
And suits.
Lots of suits.
↧
The 15 Films And TV Shows At SXSW I Can't Wait To See
With so many films and TV shows playing at the 2014 SXSW Film Festival, there is only so much one person can see — and these are the ones I’m most looking forward to!
Neighbors
Director: Nicholas Stoller
Screenwriters: Andrew J. Cohen, Brendan O'Brien
One of the best features of SXSW is that it welcomes tiny indie films alongside a selection of mainstream studio movies. Case in point, this comedy, starring Seth Rogen and Rose Byrne (with her native Australian accent!) as a young married couple whose party-hardy lifestyle has suddenly mellowed thanks to their newborn baby — only to have a frat house headed by Zac Efron move in next door. This won't arrive in theaters for another two months, so Universal is showing a lot of faith in the film by premiering it so early at SXSW.
Universal Pictures
Veronica Mars
Director: Rob Thomas
Screenwriters: Rob Thomas, Diane Ruggiero
I've never seen an episode of the beloved series that inspired this film, but I do love me a forthright female protagonist who fights crime. So I'm hoping that makes me an ideal candidate for how well this Kickstarted feature will play for those outside its devoted Marshmallows fan base — like, basically, everyone else on the BuzzFeed Entertainment team. I expect witty banter and red herrings!
Robert Voets
Silicon Valley
Director: Mike Judge
Screenwriters: Episode 1 written by Mike Judge & John Altschuler & Dave Krinsky; Episode 2 written by Carson Mell
Ever since Lena Dunham debuted the first three episodes of Girls at SXSW two years ago, the festival has slowly expanded its television premieres, this year launching a brand-new section to the festival called Episodic and devoted just to TV. There are many offerings — click here for all of them — but the one I'm most available and interested to see is Mike Judge's comedy about tech nerds striving to launch their own startup.
Isabella Vosmikova / HBO
Space Station 76
Director: Jack Plotnick
Screenwriters: Jack Plotnick, Jennifer Cox, Sam Pancake, Kali Rocha, Michael Stoyanov
This independent satire of 1970s sci-fi is the definition of “under the radar”: Veteran character Plotnick (Buffy the Vampire Slayer, Wrong) was able to shoot the film with actors Patrick Wilson, Liv Tyler, Matt Bomer, Jerry O'Connell and 2001: A Space Odyssey's Keir Dullea with pretty much no one realizing it even existed before he'd wrapped — a remarkable feat in Hollywood these days. Also: There are robots! I will be first in line.
Space Station 76
↧
Zac Efron Bros Down To Grow Up
Zac Efron “looks like something a gay guy designed in a laboratory.” That’s how Seth Rogen puts it in Neighbors, when he looks out his window to see a tank top–clad Efron moving his fraternity into the house next door.
It’s true, right? The perfect body, the beautiful face, the Paul Newman-esque blue eyes. But for most of his career, Efron has been something that a teenaged girl designed in a laboratory: that same beautiful face and body, but with an equally beautiful heart. Efron — and the characters he played, whether Troy Bolton (High School Musical), Charlie St. Cloud (Charlie St. Cloud), or Logan Thibault (The Lucky One) — were sensitive pieces of man meat who really just wanted to respect, cherish, and maybe, just maybe (and totally only when you’re ready!), have a single kiss and/or very lovingly take your clothes off.
Efron wasn’t the first to blend the beautiful face and generous heart — that’s provenance of the matinee idol, whose lineage goes all the way back to Wallace Reid and Rudolph Valentino. But Efron’s career struggles are the result of the impossible contradictions of total masculinity and total sensitivity we ask of our aging teen idols. There’s a reason that so many of them “bro out,” sometimes fatally.
There’s an impossible ideal set out for female stars — it’s constantly discussed, whether in memory of Marilyn or in reference to Britney. Male stars supposedly have it easier: They get to play sexy for longer; they get good, meaty roles well into their sixties, and since teenage boy tastes run Hollywood, they get roles that rotate around them and their interests.
In reality, though, Hollywood’s only actually good to male stars who can play a very certain type of hetero hero. That hero is also straight, virile, and designed, above all, to be someone whom 1) men want to be and 2) women want to have sex with. Robert Downey Jr., Matt Damon, Brad Pitt — the only way you can get around that imperative is to be funny, in which case you can be someone, like Will Ferrell, whom men want to be friends with and women find adorable.
The former teen idol, however, can’t really be either of those things. Even as he grows up and maybe grows a beard, his image is forever bound by his status as a fetish object for teen girls. And it’s not just that he’s “cute” — he’s a very particular type of cute. Truly and exquisitely beautiful. So beautiful, in fact, that most could’ve grown their hair and passed as teen girls. They’re enormously attractive to pubescent girls not because they’re sexual, but because they’re not.
When a girl is first confronting her attraction to the other sex, it’s terrifying. The thought of the sexual act itself, all that physical action and mess, is terrifying. What you do want to think about is romance — a guy who thinks you’re special, who wants to do nice things for you, who wants to hold your hand. Teenage boys who already look like men are threatening, but teenage boys who look not that dissimilar from your best girl friends — only they want to be your boyfriend… that’s comforting. Thus: Robert Pattinson, Justin Bieber, Jonathan Taylor Thomas, Davy Jones, ad infinitum.
But first there was James Dean. Because in order to have a teen idol, you had to have teens — and before the 1940s, there wasn’t such a thing. Before the Depression, there were two ways of being a person in the world — first, you were a child, and then, when you were old enough to bear children and work on your own, you were an adult. But the lack of work during the Depression made it so that thousands of teenagers who would’ve otherwise transitioned into adulthood were able to go to high school, not get married right away, and, gradually, establish themselves as a separate demographic, a distinction further ratified when the United States entered World War II. You were a teen or you were a soldier.
And advertisers knew a promising new market when they saw it. The first teen magazine, Seventeen, published its first issue in 1944, and over the decade to come, the teenager became king. So much of what we associate with ‘50s pop culture — the poodle skirts, Elvis, sock hops, The Twist — was all teen culture. From that point forward, the culture industries (film, television, music, fashion) would begin marketing primarily not to the median, but to the demographic with the capital, and the lack of other financial demands, to purchase it freely. Teenagers!
Dean was the perfect star for the budding teenage market: young and pretty, reckless and wounded, and he was super sensitive — he cried! All of which made it all the easier to really fall for him when, at all of 24 years old, he died in a fiery car crash. The fervor around Dean’s death was unprecedented: Sure, women supposedly had attempted suicide in the streets after Valentino’s death in 1926, but he was established as the biggest male star in the country for years. By contrast, Dean had been in a single film (East of Eden) at the time of his death, with just two more (Rebel Without a Cause, Giant) to be released in the months to come, which only helped sustain the general frenzy among girls between the ages of 12 and 19 for years to come.
It makes sense, then, that entertainment executives all over Hollywood began working themselves into a frenzy creating new teen idols. It also made sense that these new idols were a bit less James Dean (volatile and unpredictable) and more along the lines of Ricky Nelson, the clean-cut star of the smash hit Ozzie and Harriet. Ozzie and Harriet offered a cookie-cutter, totally palatable, somewhat boring portrait of the ‘50s ideal, complete with a totally cute, totally vanilla younger son.
In some pictures of Nelson, he looks like the popular guy from your high school who was probably named Chad or Brad. There’s a certain future Business Leader of America quality to him, something more Biff from Back to the Future than Marty McFly. But take a look at him singing his No. 2 hit, “A Teenager’s Romance,” on a 1957 episode of Ozzie and Harriet.
Nelson’s a horrible performer — the way he awkwardly shuffle-dances right around the one-minute mark — but his inability to look the camera in the “eye” is pure bashful teenager. He had the Dean-esque bouffant and the rolled-up shirt sleeves, but he was performing for his mother, who promised to provide “the down beat.” Crucially, this wasn’t some actress playing his mother — it was his real mom, and that was his real dad and real older brother who step into the frame to watch him, authenticating his goodness and sincerity.
Pabulum, sure, but coupled with Nelson’s fresh good looks — and the fact that you could watch him on ABC every week — it transformed a semi-talented kid into one of the biggest stars of the decade. Suddenly, he was usurping the traditional stars on the cover of the fan magazines — the first television star to do so — a move that signaled the rise of a new generation of media consumers. Elvis may have been sexier and more exotic — those hips! — but you could get your parents to buy you a Ricky Nelson record. Wholesome, white, straight, safe, plus he looked great as a cowboy in Rio Bravo, a film that cemented his popularity.
Nelson also set the business model for teen idols to come: He acted, he sang, he appeared in movies. He could be cross-promoted across all spheres, exploiting teen girls’ desire to own as much of their object of affection as was made available to them. His appearances on Ozzie and Harriet turned into de facto music videos, and between 1957 and 1962, Nelson had an astonishing 30 Top 40 hits. Dozens of teen idols — most notably, Donny Osmond and Davy Jones — followed this strategy, and it served as the slightly altered foundation for Disney’s reboot of its own teen franchise, The Mickey Mouse Club, in 1989.
We all know the talent that came out of The All-New Mickey Mouse Club over its six-year run: Justin Timberlake, Britney Spears, Christina Aguilera, JC Chasez, Keri Russell, and Ryan Gosling. Young potential molded to sing, dance, improvise, and be charismatic on cue.
The All-New Mickey Mouse Club also coincided with Disney’s reboot years, when, along the renaissance of Disney animation, the company was remembering how to successfully exploit its new product across media in a way that Walt had pioneered with Mickey, Disneyland, and thousands of other Disney products. Disney owned everything these kids did with MMC in the early 1990s, but they weren’t playing the long game: When the show ended in 1995 and at least four of the Mousketeers went on to tremendously lucrative singing careers, Disney’s name wasn’t on any of it. (Which is part of the reason these stars could go on to major careers: no one cared when Gosling’s first major film role, for example, was as an anti-Semitic neo-Nazi.)
It took another decade — and the massive success of Hilary Duff — for Disney to fine-tune what would become its own “studio system” of young stars. By 2006, it had the infrastructure in place; starting with Miley Cyrus, Disney would never let an opportunity to cross-promote pass it by again. The new “class” of Disney talent was almost entirely “raw” (new to entertainment, unshaped) and ready to be molded into franchise lynchpins. Hannah Montana was a massive hit, but so were Wizards of Waverly Place and The Suite Life of Zack & Cody; together with a slew of Disney Channel original films, they helped The Disney Channel overtake Nickelodeon in ratings for the first time in years.
For Disney, this was much more than a ratings game. It was what a growing swath of cross-media properties could mean for the conglomerate at large. Put differently, it wasn’t just that Hannah Montana was a hit; it was that the soundtrack to her show, her concert series, her Disney Channel movies, and the ever-unfurling spirals of merchandise were generating incredible profits — upwards of $1 billion by 2007. But Miley was only half of Disney’s success strategy. The other half became a veritable phenomenon: High School Musical.
High School Musical is a perfect reverse-engineering tween product. If tweens want little more than to experience high school, then Disney offers that experience — only frames it as one in which all matter of stereotypes (jocks, cheerleaders, artists, nerds) can eventually leave behind their self-consciousness and social roles to collaborate in the name of music.
Unlike other kids' products — SpongeBob SquarePants, say, or Pixar — there’s no second meaning available for adult audiences. HSM plays it completely straight — in both meanings of the word — and is wholly bereft of irony. The purity of emotion, coupled with its marketing toward tweens and young teens, helped turn it into a phenomenon: Sure, parents thought it was cheesy, but who cared, so long as every kid from 8 to 13 was buying the soundtrack and participating in the Disney-branded productions at their own schools.
HSM was filled with would-be stars: the all-American Ashley Tisdale, the affable Corbin Bleu, around whom Disney would later try to build another franchise. But the true prizes were the star-crossed lovers in the lead roles: Zac Efron and Vanessa Hudgens. Efron was a bright-eyed, floppy-haired jock; Hudgens was the ethnically ambiguous mathlete. Societal expectations tried to keep them apart, but musical theater brought them together! Their relationship was completely chaste, the musical numbers were ridiculous, but with those blue, smizing eyes, Efron was a teenage dream: all heart, no libido.
Like Ricky Nelson, Efron couldn’t really act in HSM — but he didn’t really need to. He was what, back in classic Hollywood, they’d call a “trouper” — someone who could passably sing, dance, and perform on demand. And like all Disney Channel product, what matters isn’t the talent, but the ability to look and act like something that tweens would like to become and/or spend their allowance on reproducing on their backpack.
Off screen, Efron’s actions fit the on-screen image. Trained, undoubtedly, by the Disney publicity team, he became an expert at reproducing the banal tidbit: “I was always the shortest kid in school,” he told People. “Plus, I had a huge gap in my teeth. I got teased more about my gap than anything else.” He couldn’t live without his skateboard and kept a poster of Tyra Banks above his bed. “I’m good at Hacky Sack,” he explained, and, “I consider myself a pretty good kid. There are always little slipups, but I try to work hard at my job.”
Whether or not Efron was, in fact, a “good kid” matters less than Disney’s ability to make sure that their images remained as such. It’s one thing when you’re a twentysomething appealing to an adult audience — if you show up drunk on TMZ, it’s not the end of your career. But these stars’ livelihood was rooted in a very specific, very wholesome appeal to supposedly impressionable tween kids: What they did off screen absolutely mattered.
From January 2006 to October 2008, that was the guiding logic of Efron’s off-screen career. But he — or someone at Disney — knew that the most effective way to amplify his star (and HSM) was a tried-and-true one: Make the on-screen romance come to (real) life.
Warner
↧
Rose Byrne And Zac Efron Defy Expectations In The Very Funny "Neighbors"
Seth Rogen’s back in cuddly man-child form, but it’s Byrne and Efron who are the real surprises.
Glen Wilson/Universal Pictures
Despite what the promotional material may have you believe, the central struggle in Neighbors, the gleefully deviant new comedy starring Seth Rogen, Rose Byrne, and Zac Efron, is not about realizing it's time to grow up.
Mac and Kelly Radner, the married couple played by Rogen and Byrne, are pretty clear on having arrived at unmistakable adulthood: They have a baby and have sunk their savings into a house on a sunny suburban street in the college town of Ardendale. Mac works in an office, though he still makes time to get high outside with his buddy Jimmy (The Mindy Project's Ike Barinholtz), while Kelly takes little Stella to Mommy and Me classes, though she describes them in terms that do the film's R rating proud.
Instead, the tarter lesson Mac and Kelly have to learn in Neighbors, which opens on Friday, is not so much that they're grown up, but that they're glad to be grown up and don't actually miss the partying life they recently left behind. Arriving as hard-bodied reminders of what it's like to be young, carefree, and constantly wasted are the members of the Delta Psi fraternity, who, to the Radners' dread (they were hoping for a gay couple), move in next door under the leadership of President Teddy Sanders (Zac Efron).
Glen Wilson/Universal Pictures
Mac and Kelly are so eager to prove they're not the typical straitlaced suburban parents that they gift their new neighbors with a joint during their first fawning visit to request they keep the noise down. Later, they end up getting drawn into debauchery that involves magic mushrooms, some uproarious cross-generational Batman impressions, and staying up until dawn while keeping one ear on the baby monitor. It's like having a party that never ends right next door.
But the novelty of that only charms the Radners for about a day, until it's 4 in the morning the next night, the music's blaring, and Teddy isn't answering their calls. At that point, they turn to the cops, and from then on, it's war.
Neighbors is directed by Nicholas Stoller (Forgetting Sarah Marshall and The Five-Year Engagement) and written by Andrew J. Cohen and Brendan O'Brien (the minds behind IFC's upcoming series American Storage with Rob Huebel). But if there's a particular filmography to which Neighbors feels like it most belongs, it's Rogen's. The actor has been guiding cuddly man-children in slow steps toward responsibility and empathy since his Freaks and Geeks days, and Mac's a natural continuation of Rogen's path in Knocked Up, committed to his new life but still looking longingly back at his old one. He's funny, but he's familiar.
Byrne and Efron, however, are trying something new here.
↧
↧
There Are A Whole Lot Of Penises In “Neighbors”
And with that comes plenty of homoeroticism. Stars Zac Efron and Seth Rogen and the men behind the movie talk about the plethora of penis jokes.
Teddy (Zac Efron) in Neighbors, half-naked, as is his wont.
Glen Wilson / Universal Pictures
Neighbors, which hits theaters Friday, features Zac Efron as tireless party boy Teddy, Seth Rogen as the tired new dad Mac who lives next to Teddy's frat house, and a lot of penis jokes.
"We're nerdy comedy guys, so we don't really think about it in terms of, Is there too much cock?" said Andrew J. Cohen, who co-wrote Neighbors with Brendan O'Brien. "It's more, What's funny? Right now, it's penises that are pretty funny."
"Sex and cock and farts," O'Brien added. "What do you laugh about?"
"There are a lot of dudes in fraternities, and therefore, a lot of cock," Cohen said. "In such close proximity, we assume that they see each other's cocks."
Seth Rogen, who plays the family man next door to the frat house, agreed. "Thirty dudes living in a house together? There's some dicks flopping around," he told BuzzFeed.
And Rogen knows that from rooming with other men himself. The actor used to live with Evan Goldberg, with whom he co-wrote Superbad, Pineapple Express, and This Is the End, and who is a producer on Neighbors. "We would be honest about it, and just be like, 'I'm going to go jerk off.'" Or, "'Be right back, I'm going to go jerk off,'" as Efron imagined aloud in response.
Teddy (Zac Efron) talks to Mac (Seth Rogen) and Kelly (Rose Byrne).
Universal Pictures
"We were writing together, and then there was a point where — just the sheer desire to conserve time — we realized it would probably be better if we just jerked off at the same time. As opposed to him doing it, then me doing it," Rogen recalled with his signature laugh. "And so we would kind of actually have coordinated jerk-off times. It's bordering on... It's homoerotic, I guess is what you would call it."
And though openly gay characters in Neighbors are only fleetingly on screen — there's a gay couple who checks out the empty house early in the film before the frat boys move in — homoeroticism abounds. Teddy, for example, grabs his friend's genitals and doesn't let go until said friend uses his ability to achieve voluntary erection directly into his hand. "It's super gay," Efron told BuzzFeed. "But it's not."
While the penis parade in Neighbors may seem carefree, for director Nicholas Stoller, there were some concerns: The one (prosthetic, enormous) penis you actually see in the film belongs to Christopher Mintz-Plasse's character, frat boy Scoonie, whose ample appendage is his dominant characteristic. And yes, it caused some trepidation.
"The rule that I heard was that you can show a penis in an R-rated movie; it just can't be above 90 degrees," Stoller told BuzzFeed. "So even if it's flaccid, like if you're flopping it around, if you flop it side to side, it's fine. If you flop it up and down you can get into trouble."
↧
Zac Efron's Real-Life Neighbor Is Charlie Day
Hi, when can I move into the neighborhood?
Zac uploaded this to Instagram. I don't know who is the better neighbor.
↧
Brad Pitt Tosses A Beer To Matthew McConaughey Upon Realizing They Are Neighbors
No ridiculously good-looking famous actor to see here, folks. JK.
Matthew McConaughey was in New Orleans when his family started pointing in the direction across the street and he wondered why.
Splash News
Oh. That's because BRAD PITT was standing on the balcony across from them.
Soul Brother / Splash News
Just two normal dudes.
Soul Brother / Splash News
Chitchatting from across the way, as two normal guys who aren't anything but normal do.
Splash News
↧