The months of build-up to Spider-Man: No Way Home saw it become among the most anticipated, theorized, and leaked movies of all time. All of that helped to make the MCU blockbuster the most successful theatrical release since the pandemic began, but Sony isn’t done taking advantage of that hype.
After suffering through the unfortunate flop that was Jared Leto’s Morbius, Sony will release an extended cut of No Way Home, dubbed The More Fun Stuff Version,in theaters this week. The re-release will bring with it 11 minutes of new footage taken from the many deleted scenes. This has led many to speculate what will be included in the clips, including after the credits roll.
Marvel Studios has long been famous for its post-credits scenes that either feature a hilarious moment, tease what’s to come or reveal a look at an upcoming project. No Way Home covered two of those bases as Tom Hardy’s Eddie Brock brought the Venom symbiote into the MCU and Doctor Strange in the Multiverse of Madness delivered its first look.
Now, thanks to a new report, fans know what to expect when the credits roll on the extended cut of Spider-Man: No Way Home.
Spider-Man: No Way Home Adds New Post-Credits Reveal
Warning - the rest of this article contains spoilers forSpider-Man: No Way Home: The More Fun Stuff Version.
According to a Reddit post from u/KostisPat257, Spider-Man: No Way Home: The More Fun Stuff Version added a new post-credits scene in place of the teaser trailer for Doctor Strange in the Multiverse of Madness.
Marvel
The replacement scene features Betty Brant's final school news segment as it shows pictures of "the kids' adventures throughout high school," including Homecoming's Decathalon and Far From Home's Europe trip. However, all of the pictures are missing Tom Holland's Peter Parker.
Marvel
A new post-credits scene in place of the MoM trailer shows Betty doing her very last news segment right before graduation, showing pictures of the kids’ adventures throughout high school (Decathlon, Europe trip etc), but all of the pics are missing Peter Parker, indicating how the memory spell works.
Marvel
This reveals that Doctor Strange's spell, which erased the memory of Parker from the world, also removed him from any documentation or images, as if he was never there.
Not only has the entire world now forgotten Parker ever existed, but he also appears to have been removed from any image or document he was included in. What's still unclear for now is exactly how Peter's friends remember the events he was involved in - perhaps exactly the same but with him absent.
With Betty Brant's final pre-graduation news report placed to accompany the scene, her narration may offer more clarity. Regardless, this scene is one that could have benefited No Way Home immensely, as fans have spent months confused about the intricacies of Doctor Strange's spell.
However, it's tough to imagine exactly where the scene could have been placed in the original cut without breaking up the flow of the ending. But now that Doctor Strange 2 has come and gone, leaving the trailer after the credits would have been an odd decision, making the replacement a logical one.
This same leak promised plenty more to come from The More Fun Stuff Version including new scenes with Andrew Garfield and Tobey Maguire's Spider-Men, all the Multiverse-hopping villains, and Charlie Cox's Matt Murdock, aka Daredevil. So, fans have a lot to look forward to with the 11 brand-new minutes of footage.
Spider-Man: No Way Home - The More Fun Stuff Version begins hitting theaters worldwide today, releasing in the USA on Friday, September 2.
Does the gory surprise C-section in “House of the Dragon” represent a grim historical reality, an urgent political statement or a worn cultural cliché?
“Are you sure you want to watch this?” my husband asked as we cued up the “House of the Dragon” premiere last week.
We had both seen the online warnings that the “Game of Thrones” prequel kicked off with a “grisly,” “brutal” and “gory medieval C-section.” I had undergone a cesarean section a couple of years ago, during the birth of my son, and now I was again pregnant and preparing for the possibility of a second surgery. But yes, I was sure I wanted to watch it.
I was, I guess, curious about what the most horrific interpretation of the procedure might look like. I’m still thinking about the scene — not because it is so violent, but because its violence is framed as soprofound. Like so many depictions of pregnancy, its visceral and emotional possibilities are largely obscured by a tangle of clichés posturing as insight.
King’s Landing, after all, is not a subtle place. At the top of the episode, an uncomfortably pregnant Queen Aemma foreshadows her fate: “The childbed is our battlefield,” she tells her daughter, Princess Rhaenyra. “We must learn to face it with a stiff lip.” Meanwhile, her husband, King Viserys, is ominously confident that this pregnancy, after a run of miscarriages and stillbirths, will finally produce a male heir.
Instead, the queen’s labor reaches a dangerous impasse. The grand maester informs the king that the baby is in a breech position, and that “it sometimes becomes necessary for the father to make an impossible choice” — to “sacrifice one or to lose them both.” Viserys approves the surgical removal of the baby without Aemma’s knowledge or consent. As birth attendants restrain their desperate, confused queen, the grand maester slices into her belly. The queen dies, and her baby dies soon after.
Ollie Upton/HBO
What is the meaning of this gruesome spectacle? George R.R. Martin’s “Fire & Blood,” the book on which “House of the Dragon” is based, has the queen die in childbirth in an unspecified manner; only in the show does it become a murder by way of a rogue belly slicing. In a series of interviews, Miguel Sapochnik, one of the showrunners and the episode’s director, exhaustively explained the resonance of the choice. The scene — intercut with a bloody jousting tournament mounted by the king in premature celebration — was designed to be “a distillation of the experience of men and the experience of women” in Westeros, Sapochnik said. But it was also meant to reveal “parallels to our own past and present,” he added. It represents the grimness of childbirth in the medieval era, from which Martin’s fantasy world draws, when “giving birth was violence”; but it also represents the grimness of childbirth in post-Roe America, when the scene reads as “more timely and impactful than ever.”
“Anxious not to get it wrong,” eager “not to shy away” but also “not to sensationalize,” the creative team — the episode was written, directed and edited by men — enlisted two midwives to advise on set and innumerable women to screen the sequence before it aired. The scene, Sapochnik promised, was just the beginning of a whole season of portentous births, each seeded with additional gender commentary. The theme of this birth, he explained, was “torture.”
The sheer violence of the scene didn’t shock me. (Earlier in the episode, a character slices off a man’s penis and tosses it atop a pushcart piled with various severed appendages — violent spectacle is a major element of the show.) But the implied profundity of the violence struck me as faintly ridiculous. The loading of meaning onto the queen’s death felt like an attempt to sidestep the criticism that dogged “Game of Thrones” — that it indulged in senseless violence against women. But the imposition of sense on such violence can also feel unsatisfying, as the female character’s interiority is subsumed into the creators’ effort to make a statement.
Ollie Upton/HBO
The scene creaks under the weight of so many signifiers. The queen is shot from seemingly every angle; no perspective on her pregnant body goes unseen. We see her moaning in the background, tangled in bedclothes. We zoom close on her delirious face in gauzy light, evoking the softness of a maternity shoot. Often we see her from above, as if we are peering down on her in a surgical theater. Or we spy her from beyond her rounded stomach, as if we are attendants assisting in the delivery. We look down upon her as she is cut open, drained of blood and stuffed with reaching hands.
As the scene wears on, the camera itself seems moved by cowardice. It retreats further and further from the queen’s perspective, assuming a remote and clinical gaze. Often it looks away entirely, focusing instead on the cartoonish gore of the jousting,which comes to stand in for the violence of the birth. The queen’s screams are silenced, overlaid with the sounds of a roaring tournament crowd and the outlandish squishing of skulls and brains. In its desperation for meaning, the scene does become senseless.
Being pregnant can feel like passing from the physical world into the world of signs. Pregnancy is weighted with so much metaphorical significance that it is even a metaphor for significance — pregnant with meaning. But I’m not pregnant with meaning; I’m just pregnant. And so I watch depictions of pregnancy and birth from my own removed position, curious what my experience signifies to other people, and what it is supposed to say about our culture and politics.
The “House of the Dragon” C-section is neither historically accurate (the mother’s life was valued over that of the fetus in much medieval teaching, as Rebecca Onion detailed in Slate) nor particularly of the moment (post-Roe, many women are begging doctors for surgical interventions in their pregnancies). But it does access a persistent cliché: The C-section is a birth choice loaded with stigma, as Leslie Jamison noted in an essay on the procedure last year. It is coded as “both miraculous and suspect, simultaneously a deus ex machina and a tyrannical intervention” — the antithesis of a “natural birth.”
This construction voids the mother’s role in childbirth, ceding it to a patriarchal medical establishment. The riddle from “Macbeth” — which posits that because Macduff was “untimely ripped” from his mother’s womb, he is not “of woman born” — persists. On-screen pregnancies still rarely end in C-sections. When they do, they are the stuff of horror. As the film critic Violet LeVoit has argued, the vaginal birth is framed as the climactic final struggle of the hero’s pregnancy journey. A C-section, then, renders our hero a victim — and a failure.
None of this coincides with my own experience. I didn’t feel bad for having a C-section, or feel that I didn’t truly “give birth” to my son; I felt that my doctors and I did what was medically necessary to deliver him safely. And yet I feel nagged by this imposed narrative, and I am reminded of it whenever I see a birth scene shot from above, as the “House of the Dragon” one often is.
Birth was, for me, an overwhelmingly sensory experience, not a visual one. During labor, I couldn’t see past my own abdomen. My strongest memory of the surgery, which the hospital shielded from my view with a raised blue tarp, is of the uncanny release of pressure in my anesthetized body when the baby was removed. As it was happening, a doctor asked if I wanted her to photograph the moment, and I impulsively agreed, thinking that I could always delete the image if I couldn’t stomach it. When I look at the photo now, I recognize my son’s features emerging from the bloodied edges of my body, but I don’t recognize the point of view. It is as if I am reliving another person’s memory, not my own.
So no, the depiction of violence in birth does not bother me. But the bird's-eye view of it does. The camera’s insistence on its lofty perspective, on looking down on the birthing woman’s full body from a spectator’s remove — that strikes me as the real violation. In those jarring shots, the depiction of male violence becomes indistinguishable from the male gaze.
Maybe future “House of the Dragon” births will resonate with my own feelings about childbirth. And I’m sure other parents, bringing their own experiences to the episode, left it with different interpretations. But that is the trouble with trying to distill the entire “experience of women” into a scene — the idea is absurd, even in a fantasy world.
If you’re wondering whether She-Hulk episode 3 has a post-credit scene, we’re here to confirm it indeed does and you won’t want to miss it!
She-Hulk is quickly proving to be the queen of post-credits scenes! Unlike the many Marvel Cinematic Universe-set series that have come before it, She-Hulk has gifted fans with a bonus scene in both of its first two episodes and that trend continues into the show’s third episode arriving on Thursday, Sept. 1.
That’s right, She-Hulk: Attorney at Lawis about to serve up yet another post-credit scene for fans to enjoy and the scene is one with the potential to break the internet.
Is there a post credit scene in She-Hulk episode 3?
There is indeed a post-credit scene to enjoy in the third episode of She-Hulk and, without spoiling anything, we’ll just say that the scene is one of the greatest post-credit scenes we’ve ever seen in a Marvel project! Like other post-credit scenes from this season, the post-credit scene in episode 3 furthers a plotline introduced within the episode with a truly fun and memorable moment.
The scene features a surprise guest, one of today’s hottest songs, and let’s just say She-Hulk is about to break ground as the first hero to [REDACTED] in an MCU project!
Is there an end credit scene in She-Hulk episode 3?
While there is a post-credit scene to enjoy in the third episode of She-Hulk, there is no end-credit scene at the end of the episode to enjoy once the end credits are finished rolling. Although we’d love to have an end-credit scene to enjoy in addition to the post-credit scene, we’re definitely not complaining as Marvel has been keeping fans well fed with weekly post-credit scenes in each episode of She-Hulk!
Earlier this month, “iCarly” star Jennette McCurdy’s bombshell memoir, “I’m Glad My Mom Died,” detailed alleged abuse she experienced while working at Nickelodeon.
Now, several former child actors and Nickelodeon staffers are speaking out against Dan Schneider, creator of “Zoey 101,” “Victorious,” “iCarly” and “Drake & Josh,” who reshaped the network and kids’ television at large.
According to a report from Insider, Schneider was known to push the boundaries of children’s TV, often “thumbing his nose” at Nickelodeon’s standards department and ramping up the series’ sexual innuendos, including scenes in which goo was squirted on young actresses’ faces. When it came to picking costumes, Schneider “signed off on all outfits” and “campaign[ed] for the skimpier options,” the report states. (McCurdy wrote in her memoir that she was pressured to wear a bikini on “iCarly.”)
Russell Hicks, Nickelodeon’s former president of content development and production, told Insider that standards and practices read all the scripts for Schneider’s shows, programming executives watched every episode, and parents and guardians were always present on set. “Every single thing that Dan ever did on any of his shows was carefully scrutinized and approved,” Hicks wrote in a statement to the outlet.
Daniella Monet, who played Trina Vega on Nickelodeon’s “Victorious,” told Insider that some of the actors’ outfits on the show were “not age appropriate,” and that she “wouldn’t even wear some of that today as an adult.”
The actor also recalled a time when she contacted Nickelodeon about a “Victorious” scene in which she ate a pickle while applying lip gloss. Monet expressed concern to the network that it was too sexual to air, but Nickelodeon aired it anyway.
Monet noted that most of “Victorious” was “very PC, funny, silly, friendly, chill,” but once in a while, there would be questionable scenes. “Do I wish certain things, like, didn’t have to be so sexualized?” she said. “Yeah. A hundred percent.”
Reps for Schneider and Nickelodeon didn’t immediately respond to Variety‘s requests for comment.
Monet also mentioned the male-dominance of Schneider’s writers’ rooms. As Insider notes, “none of Schneider’s shows credited more than two female writers in the entirety of their runs; ‘Zoey 101’ and ‘Drake & Josh’ had zero.”
Alexa Nikolas, who starred in the first two seasons of “Zoey 101,” has been outspoken about her “traumatizing” experience at the network for years. She told Insider that Schneider once screamed at her until she broke down in tears, and that he would often take photos with teenage actresses sitting on his lap.
Nikolas told Variety: “It shouldn’t be a woman having to trail blaze, it should be on the industry itself. … Because a predator’s gonna come and go — there’s always going to be a predator. But if they don’t have a safe haven, then they can’t really perpetuate that abuse.”
After a successful theatrical run, the hype for Spider-Man: No Way Home is far from over. The Tom Holland-led threequel is set to be released again in theaters, with Sony Pictures labeling it as the More Fun Stuff Version.
Once Peter Parker's secret identity as Spider-Man was revealed to the world, the Department of Damage Control didn't waste time in interrogating his closest allies, namely Aunt May, Ned, and MJ. This extended look could reveal more hilarious banter between the trio and the Department of Damage Control, drawing more laughs from fans.
Peter Day at Midtown High
Sony Pictures
In the original cut, most of Peter's classmates and teachers were excited to find out that he's actually Spider-Man. The recent trailer already revealed that Peter is using his powers in front of his peers inside the school gym, and more scenes of him being forced to demonstrate his abilities could be showcased.
The fact that the deleted scene says "Peter Day" could hint that Midtown High is celebrating the hero, but he doesn't seem interested in this special occasion.
Undercroft Montage
Sony Pictures
When Ned first entered Sanctum Sanctorum's undercroft, the character was amazed by its mystical artifacts. It's possible that an extended look at this notable location could be featured, revealing more secrets from the Sanctum.
The theatrical cut also revealed that MJ found a box containing a goatee template that is eerily similar to Doctor Strange's facial hair style. That said, this scene could unravel more of Stephen Strange's secrets by showcasing similar notable Easter eggs tied to the character.
More Daredevil Scenes in 'Happy's Very Good Lawyer'
Sony Pictures
Charlie Cox's surprising return as Matt Murdock made headlines while also earning an overwhelmingly positive reception from fans and critics. That said, the Marvel hero only made a brief appearance in the movie, but this deleted scene offers an opportunity to showcase more of Cox's acting prowess on-screen.
Based on the image above, it seems that this deleted scene will show how Murdock was able to help Peter during the investigation of the Department of Damage Control. It could also tease Murdock's involvement with Happy Hogan's case regarding Stark Industries, hinting at his potential appearance in Armor Wars.
The Spideys Hang Out
Sony Pictures
More scenes involving the three generations of Spider-Man could be the main reason why fans would want to experience No Way Home's extended cut. Given that a good chunk of the trio's screen time happened during the film's final battle, it's likely that an extended or deleted sequence featuring the bond of Tom Holland, Tobey Maguire, and Andrew Garfield might be included.
A hint of the deleted scene involving fun banter between Maguire's Peter 2 and Garfield's Peter 3 was already revealed in one of the promos for the extended cut. That said, more scenes of the Spider-Men teaming up or even additional hilarious interactions are possible candidates to be included in the theatrical re-release.
More Spider-Man Villain Scenes & Harry Holland's Cameo
Sony Pictures
It's unknown if the extended cut would feature more scenes of the Multiversal villains, but Sony Pictures did reveal that a hilarious sequence involving these characters inside the elevator going to Happy's condo will be included. More fun banter among the villains would be a welcome inclusion.
Sony Pictures
Another scene that the studio included in its promo is the one that revolves around Harry Holland's cameo. Set photos already spoiled this key scene, but seeing it on the big screen with finished visual effects would be stunning and could draw a lot of laughs.
No Way Home served as a crowd-pleaser amid the ongoing global pandemic in 2021. This extended cut is poised to allow fans to relive memorable moments while also giving a chance for Maguire and Garfield to shine as their respective Spider-Men one more time on the big screen.
Spider-Man: No Way Home's More Fun Stuff Version is set to premiere in theaters on Friday, September 2. Tickets are on sale now.
LAPORTE COUNTY, Ind. (WNDU) - Indiana State Police have confirmed there is a criminal investigation involving Michigan City Mayor Duane Parry.
The 72-year-old mayor is accused of leaving the scene of an accident after driving over a water line at Washington Park causing damage to his city-owned vehicle.
According to the crash report, on the night of August 5, Parry was driving through a grass area near the entrance of a park lot when his Ford Explorer struck an erect water pipe with an attached hose.
As he drove away, the pipe completely ripped the exhaust system from the bottom of the Ford Explorer and Parry left the scene without reporting the incident. Per the report, at a Ford dealership where the vehicle was taken Parry later identified as the driver and interviewed about the incident.
The report says Parry, “had been drinking,” and also submitted to a drug test.
Indiana State Police are handling the investigation due to conflict of interest and would not comment further on the investigation.
TOLEDO, Ohio (WTVG) - The Toledo Post of the Ohio State Highway Patrol is seeking assistance with locating the driver of pick-up truck accused of striking a patrol car and fleeing the scene.
OSHP says the crash occurred around 1:33 a.m. on Aug. 26. The patrol car had its emergency lights activated on the ramp from U.S. Route 23 southbound to eastbound I-475 while on the scene of a previous crash on the left side of the road.
According to OSHP, Trooper Nicholas J. Konrad was standing near the previously crashed vehicle when a black or dark-colored pick-up truck sideswiped the right side of Konrad’s patrol car. Trooper Konrad jumped over the guardrail as the crash occurred and suffered minor injuries to his hands and arms.
OSHP says the pick-up truck failed to stop following the crash and continued eastbound on I-475. The pick-up truck is believed to have damage on the left side of the vehicle.
Anyone with information related to the identity of the driver or the location of the pick-up truck is asked to call the Toledo Post at 419-865-5544.
OSHP wants to remind motorists to proceed with caution anytime the see flashing lights ahead.
Trooper Nicholas J. Konrad was standing near a previously crashed vehicle when a pick-up truck sideswiped the right side of Konrad’s patrol car.(Ohio State Highway Patrol)
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Andy DelaBarre did what any head coach dreams of doing last November — going a perfect 12-0 en route to a state title.
Somehow he thinks the LaMoure/Litchville-Marion football team can do even better this year.
"Our expectations are high again," DelaBarre said. "Just like any year you hope to build upon those who are returning and this year our goals are set high again — we're looking to do what we did last year but be an even better team than we were.
"The goals are set, the expectations are high and now it's finding the road map that is going to get us there."
LLM won it all last season, defeating Cavalier 42-14 in the 9-man final.
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LLM's average margin of victory last season was more than 46 points per game. The team's most dominant win came in week No. 2 of the season, topping Cooperstown Griggs County Central 76-0.
The squad pitched eight shutouts and the Loboes' defense only allowed 54 points all season.
So the question remains, how in the world could you get any better?
Well, it's pretty simple.
''We have to have that expectation of being better every day and I think that is the mentality that our boys have taken,'' DelaBarre said.
"The guys who have been in that position are looking to elevate their game in order to be a better individual for the team," he said. "If we can do that, and build each other up and continually get better throughout the season there's no doubt in my mind that we can be a better team than we were last year."
Step one for the Loboes is taking stock of who's going to be back on the field this fall.
LaMoure-Litchville/Marion's Anthony Hanson catches a touchdown as Cavalier's Landon Carter and Caden DeMars look on in the first half of the 2021 9-man football championship Friday, Nov. 12, 2021.
Eric Hylden / Grand Forks Herald
"We return a lot of the same guys and still have some pretty talented players coming in to fill some of the roles that we had last year,'' DelaBarre said.
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The head coach said the Loboes' most significant role they will have to fill right off the bat is that of quarterback, having lost Corban Potts to graduation. Potts put up 609 points on the year.
"Corban Potts was a special player and a strong quarterback and a natural quarterback," DelaBarre said. "We'll have to adapt our offense to whoever fills that position."
DelaBarre said he is considering both Anthony Hanson and Max Musland to take over the signal-caller position.
The Loboes also lost Charlie Bowman, a defensive back and wide receiver, but the return of Tate Mart is a huge bonus for DelaBarre's squad.
LLM will be bringing back 10 seniors to lead the Loboes' on the gridiron, a number not at all conventional when looking at a 9-man program. In total, DelaBarre said the Loboes are expecting between 25-30 guys to come out this fall.
Blase Issacson, Ryder Wendel and Owen Lesko have not seen very many minutes over the course of the last couple of seasons just due to the sheer number of upperclassmen who have gone out for football.
Lesko will be just a sophomore this year but even as a freshman, DelaBarre said he showed great promise and could potentially be one of the best runningbacks the Loboes' program has seen.
Isaacson and Wendel will also more than likely see some valuable minutes this season.
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Impact players will be needed as the Loboes have got a tough set of games crowding their schedule this season.
"It's unique this year that our schedule combines us with Region 2," DelaBarre said. "As far as Region 1 goes, we're a much smaller group but I would say that we're still a very talented group. There's always good competition in Region 1."
DelaBarre said is expecting the same out of Region 2, a region that boasts Enderlin, May-Port-CG, Griggs County Central and Tower City Maple Valley.
LaMoure/LM is 1-0 having defeated Maple River 50-0 on Aug. 19.
"It will be a fun regular season that hopefully leads us into an even more exciting playoff time," DelaBarre said. "We're excited."
The recent passings of Ray Liotta, Paul Sorvino and Tony Sirico — a trio of unforgettable faces from Goodfellas gone within two months — have launched a thousand rewatches of the legendary 1990 film. When I embarked on my own latest rewatch, I realized that not only is the movie a genre-and-career-defining masterpiece, it’s also an example of pre-Instagram, cinematic food porn, with many — most — of its famous scenes taking place at the dining table or in the kitchen. From epic prison-made feasts to cocaine-fueled family get-togethers and post-mob hit midnight meals from mom, there’s much to explore.
It adds yet another dimension of appreciation to a movie I had already long ranked as my favorite, one that resonates with me all the louder considering my eventual career path. (For the record, that’s as a food journalist, not a mobster.)
When you watch Goodfellas specifically for the food, its constant background static becomes one of its strongest and most central themes. Yes, the movie might have the best score in cinema history, featured groundbreaking technical work from Martin Scorsese and created a cottage industry of ripoffs and imitations, but it’s also one of the most definitive food films of all time.
Taking into account plot importance, food porn-worthiness, and the overall quality of the scene as well as the eats, here are the best food scenes in Goodfellas.
12. “It was when I first met Jimmy Conway.”
A series of food-filled scenes are formative in the development of young Henry as he meets the man he’s bound to follow for life, Paul Cicero, and the man he wants to be, Jimmy “The Gent” Conway. First, we’re outdoors for a cookout, with large circular rings of Italian sausage charring over fire beside a cast iron skillet filled with peppers and onions. Guys are grabbing hunks of bread and loading them up, and Paulie and his crew are sitting around, each guy with a sausage sandwich in one hand, beer in another.
“Hundreds of guys depended on Paulie, and he got a piece of everything they made. It was tribute, just like in the old country… All they got from Paulie was protection from other guys looking to rip them off. And that’s what it’s all about. That’s what the FBI could never understand. What Paulie and the organization does is offer protection for people who can’t go to the cops. That’s it, that’s all it is.”
As we hear this piece of demystifying insight, we get a closeup shot of Paulie at first contentedly, then distractedly, munching on that sausage sandwich, quietly sorting out all the secret business being whispered into his ear all day long.
For the next installment of the “young Henry learns the ropes” series, we’re at another sandwich-based gathering. Seeded hoagie loaves and sliced bread are laid out on a table besides rolled up cold cuts, sliced cheese and spreads. Young Henry makes a sandwich he lovingly puts the finishing touches on while we get introduced to Robert De Niro’s Jimmy Conway.
“It was a glorious time,” Henry tells us. Paulie even has a wry smile on his face. “It was when I met the world. It was when I first met Jimmy Conway.” Young Henry’s eyes are fixed on Conway as he wields wads of cash and is greeted affectionately by Paulie. He’s tasked to get Jimmy a drink, a 7 & 7, and Paulie says, “Jimmy, I’d like you to meet the kid Henry.”
Young Henry gets a $20 slipped into his pocket, and the life-changing, cross-generational, cross-stratospheric introduction is complete. Henry has his new lodestar. An idol for life. A meet-and-greet brokered with a tray of sandwiches.
11. “I was ordering the dessert when they were eating dinner.”
In another quick succession of scenes — we’ll call these “the courting Karen collection” — food takes a central position as Henry’s adult life comes into form. Joe Pesci’s Tommy drags Henry along on a date, his first meeting with his future wife, though he doesn’t seem all too intrigued. “I was ordering the dessert when they were eating dinner,” Henry’s voiceover tells us. “When they were having coffee, I was asking for a check.” The meal is highlighted by Tommy dropping a Manischewitz joke for the benefit of the “Jew broad” he’s trying to “bang.” Help him out, Henry, geez.
Somehow, Henry lets himself be roped into a second double date, but he stands Karen up. She begins bawling at the table after half-heartedly forking at her pasta, a sad uneaten loaf of bread in a basket in front of her, as Tommy noisily enjoys his food and feigns concern. After the meal, they track Henry down, and Karen berates him in front of the guys, winning his respect in the process.Whether it’s Henry’s Family or his family, there are rituals and protocols to follow, and they usually revolve around sitting down for a meal.
10. “Make that coffee to go.”
The coffee scenes, a.k.a. the Carbone chronicles. Poor Stacks, he was always late. He was even late to his own fuckin’ funeral, as Tommy reminded him. Stacks, depicted by a then-relatively-unknown Samuel L. Jackson, is awoken after a long night and then sent back to sleep, for good. Before doing so, Stacks wonders if Tommy and Carbone brought him any coffee.
Tommy responds in his typical fashion, “What do I look like, your fucking caterer? C’mon, Frankie will make you coffee.” After Tommy shoots Stacks in the back of the head, Carbone, whom Tommy later refers to as a “dizzy motherfucker,” walks out surprised, holding the coffee he had dutifully begun to make. Tommy goes with it, with a line no doubt paying homage to the famous cannoli scene in The Godfather. “The fuck are you looking at? C’mon make that coffee to go, let’s go.” Carbone obliges. “What the fuck are you doing? It’s a joke, a joke. Put the fucking pot down. What are you gonna do, take the coffee?”
Soon after, poor mumbling Carbone gets tricked out of his coffee once more, the lure of a caffeinated beverage this time being used to walk Maurie to his death via ice pick in the base of his skull.
The worst was yet to come, of course, with Carbone himself becoming a victim of the post-Lufthansa heist cleanup. “When they found Carbone in the meat truck, he was frozen so stiff it took ’em two days to thaw him out for the autopsy,” we hear as we see his icicle-covered, blazer-clad body hanging like a side of beef as “Layla” plays in the background.Whether you need coffee for a hit, or you’re the victim and you’re hung up next to someone’s dinner, food and drink are at the fateful forefront of it all.
9. “I’m a union delegate.”
For cinephiles, the Copacabana “Steadicam” shot is the most noteworthy sequence in the film. And while this could fit in with the rest of the courting Karen collection above, it’s such an iconic scene that it warrants individual recognition. It’s one of the most famous three minutes in movie history, after all, even if it doesn’t sniff the best food scenes in Goodfellas.
The famous no-cut track shot brings us through the bustling Copacabana kitchen, where a score of chefs and waiters are preparing and toting all types of dishes, and a bouncer housing a hearty sandwich accepts a heartier cash bribe from Henry to allow him in the back entrance. Lots of meeting and greeting and gladhanding is done, before a table, chairs and lamp are conjured out of thin air, providing Henry and Karen a front-row view for the show as if by magic. “Anything you need, Henry, just let me know,” the maître d’ says. A wine bottle is immediately proffered by “Mr. Tony over there,” Henry’s colleagues at the next table.
“What do you do?” a dazzled Karen wonders.
“I’m in construction.”
“You don’t feel like you’re in construction.”
“Weell, I’m a union delegate.”
A second turn at the Copa soon follows, with a bottle of Dom Perignon sent to the table by Bobby Vinton, who salutes them while crooning “Roses Are Red My Love.” Karen is hooked, ladies and gentlemen. And the meals, the drinks, the dining, the power, is a major component of the allure.
8. “3,200 bucks for a lifetime.”
We were introduced to Paulie and the inner workings of his world with sausages on the grill, and Henry says goodbye to him, “for a lifetime,” with sausages being fried up in a skillet.
“Paulie, I’m really sorry,” he says. “I don’t know what else to say. I know I fucked up.”
“You looked into my eyes and you lied to me,” Paulie responds. “You treated me like a fuckin’ jerk. Like I was never nothing to you.”
The sizzling sausages and the spatula scraping the cast iron pan comprise the soundtrack of the scene. Your eyes almost burn imagining the smoke filling up the kitchen.
“Take this,” Paulie says, with Henry breaking down in tears. “Now I’ve gotta turn my back on you.”
Henry walks away in shame. “3,200 bucks. That’s what he gave me. 3,200 bucks for a lifetime. It wasn’t even enough to pay for the coffin.” His arc with Paulie is tied up as neatly as one of those circular links of sausage.
7. “We couldn’t do nothing about it.”
Half the movie seemingly takes place in a diner, and in this scene, despite a string of recent complications, Jimmy is as giddy as we’ve seen him since the first time he’s introduced and tosses young Henry that $20. “I never saw Jimmy so happy,” Henry tells us. “He was like a kid.”
Henry and Jimmy are scarfing breakfast, awaiting the good tidings of Tommy becoming a made man. Jimmy’s powering through half a cantaloupe and there’s an inordinate amount of empty dishes on the table before them. Eggs and cereal and coffee and cigarettes. Jimmy’s loving it. This is what he’s been waiting for. He’s a man who epitomizes Hemingway’s line from The Sun Also Rises, “Enjoying living was learning how to get your money’s worth and knowing when you had it.”
But there was a different price to be paid this time. And in a testament to De Niro’s acting, one of the most heartfelt and tragic moments of the film occurs between him and a payphone, as he receives the implied news of Tommy’s demise, smashing the phone’s receiver as a result.
“No, we had a problem and we tried to do everything we could,” the voice on the other end of the line says. “Well you know what I mean. He’s gone and we couldn’t do nothing about it. That’s it.”
Jimmy’s face breaks for a moment, quivering just a bit at the news, crying to himself and pushing the entire phone booth down, before crying more in front of a rather disaffected Henry. “It was revenge for Billy Batts,” Henry tells us. A man murdered by a chef’s knife, as it were.
6. “You eat this good in the joint?”
Henry exits his stint in prison and enters a downsized home, with his kids in bunk beds. This won’t do. He tells Karen to pack up and look for a new house and asks, “Who wants to go to Uncle Paulie’s?” Raucous approval from the girls. And we see why. Trays upon trays of food including heaping mounds of meatballs in tomato sauce and cheesy baked pasta are brought forth, the sounds of satisfied chewing and convivial discourse in the air.
“You eat this good in the joint?” Paulie asks while pinching Henry’s cheek. (Knowing full well that after his earlier release, and without his own “very good system” of thin slicing and liquefying garlic — we’re getting there, I promise — there’s no way Henry was still eating that well.)
Paulie’s elated, one of his brief happy moments, but it doesn’t last long. A family gathering is never just about the food, even if that’s what it seems like on the surface. Paulie warns Henry to stop selling drugs, demands it, tells him people are getting arrested and dying in jail and he sure as hell doesn’t need that for himself. “Just stay away from the garbage, you know what I mean,” he says. Paulie tries to put the fear of god into Henry while firing that menacing death stare we’ll see more of later, even slapping him in the process. It’s to no avail.
5. “I think I’ll have an English muffin.”
We’re back at the diner, because of course we are. If Paulie and Henry are strung together like a coil of Italian sausage, Jimmy and Henry are bound to the confines of roadside diner booths for all eternity. The news at the diner is never good. Last time, Tommy was killed. This time, Henry believes he’s sussed out that he’s next. Jimmy being Jimmy, though, he’s here to eat, anyway. Murder be damned. He has a loaded table in front of him; the man loves a hearty breakfast. There’s eggs, toast, OJ and coffee.
“So I met Jimmy at a crowded place we both knew,” Henry recalls. “I got there 15 minutes early and I saw that Jimmy was already there. He took the booth near the window so he could see everybody who pulled up to the restaurant. He wanted to make sure I wasn’t tailed. He was jumpy. He hadn’t touched a thing.”
Hadn’t touched a thing. Very un-Jimmy like. The first of several tells, in Henry’s mind. Henry, meanwhile, is doing his chain-smoking rather than eating routine, and Jimmy asks Henry to make a hit. “That’s when I knew I would never have come back from Florida alive,” Henry says.
Suddenly, though, he’s hungry. Maybe instinct kicks in, as you never know when you’re going to have your last meal. “You know what, um, I think I’ll have an English muffin.” The stomach wants what it wants.
4. “I’ll make you something to eat.”
It’s been one of those nights. You know the type. You’re out to welcome a colleague home from prison, end up murdering the guy and tossing him into the trunk of your car and need to pick up a shovel from your mother’s house to bury the body. How many times have we all been there, right? Good thing Tommy’s mom comes to the rescue to feed her hungry boys, like so many soccer moms triumphantly doling out halftime orange sections. She’s dressed in a fuzzy pink robe, and not all too concerned about the blood-covered, disheveled state of her son and his crew; she just wants to capitalize on this unexpected family time. And that means food.
“Look, go inside, make yourselves comfortable, I’ll make you something to eat,” she tells them. She can’t sleep if she knows Tommy is around, after all, and she fetes them with a middle of the night breakfast extravaganza, plying Tommy with questions about where he’s been and why he doesn’t settle down.
Plates are passed around, multiple loaves of bread adorn the table, and Jimmy deploys an aggressive twirling maneuver to coax ketchup out from a glass Heinz bottle. There’s debate over what’s being eaten here. My initial assumption — for decades now — was pasta, but then why the ketchup? On closer, slow-motion inspection, I think we have eggs, perhaps eggs and potatoes, on their plates, which would more closely match the mood of a mid-murder meal at 2 a.m.
The food though? You know Jimmy is loving it. “Delicious. Delicious,” he extols. Henry, meanwhile, is accused by Tommy’s mother of doing two very bad things: not eating much, and not talking much.
Later, after Billy Batts is disposed of, the guys need to go and fetch him right back, exhuming the body so it’s not discovered by a construction crew. Henry vomits from the horrid smell, but Tommy’s unfazed and busts his balls. “My mother is gonna make some fried peppers and sausage for ya,” he assures his friend. Jimmy unearths an arm and a leg. “Here’s a wing!” Tommy gleefully adds. “What do you like, the leg or the wing Henry?”
3. “See, I was cooking dinner that night.”
One of the great stretches of the film involves Henry preparing a homemade family feast as his life unravels before his eyes. He starts discussing his menu and his cooking steps, and for a brief moment I’m worried that Scorsese has actually laid a classic food blogger trap on us, reeling us in with two and a half hours of mafioso machinations which were nothing but the neverending backstory of the recipe for a festive, family-style Italian-American meal.
It’s a manic, paranoid, all-day cooking prep slash drug muling prep session extraordinaire. It begins on Sunday, May 11th, 1980 at 6:55 a.m., with a line of coke, a brown paper bag stuffed with guns and a helicopter overhead.
“See, I was cooking dinner that night. I had to start braising the beef, pork butt, and veal shanks for the tomato sauce.” (“I’m gonna make it all, I’m gonna make all this meat,” Henry says in the background of his voiceover, as he frantically forms meatballs.)
“It was Michael’s favorite, and I was making ziti with the meat gravy, and I’m planning to roast peppers over the flames, and I was gonna put on some string beans with some olive oil and garlic, and I had some beautiful cutlets that were cut just right that I was going to fry up before dinner just as an appetizer.”
Henry needs to switch gears though, “so I ask my brother Michael to watch the sauce,” and even as he picks up drugs from his Pittsburgh connection, that’s where his mind remains.
“Listen, tell Michael not to let the sauce stick, keep stirring it,” he says on a call home, making a whirling move with his finger.
“Henry says ‘don’t let the sauce stick.’”
“I’m stirring it!” his exasperated brother responds.
“As soon as I got home, I started cooking,” Henry says, as we see him dredging the cutlets and coating them in bread crumbs.
“I told my brother to keep an eye on the stove. All day long the poor guy’s been watching helicopters and tomato sauce.” (“And don’t let Karen touch the sauce,” in-scene Henry says.) “See, I had to drive over to Sandy’s place, mix the stuff once, and then get back to the gravy.”
It’s finally time for the Hill family feast, and we see the end of a 10:45 p.m. dinner, the dining table strewn with dishes. The whole sequence somehow matches the frazzled energy of a typical busy family preparing a weeknight meal while taking the kids to practice and dropping off the dry cleaning, only it’s guns and coke and helicopters.
2. “In prison, dinner was always a big thing.”
The famed ode to prison cooking is the scene you probably assumed was number one. At the conclusion of his sendoff party, Henry swallows a handful of pills dry and blurts out to his cabbie, “Now take me to jail.” Immediately, good tunes come on and the camera zooms in on a clove of garlic being sliced into tiny translucent discs with a razor.
“In prison, dinner was always a big thing,” he tells us. “We had a pasta course, and then we had a meat or a fish. Paulie did the prep work, he was doing a year for contempt, and he had this wonderful system for doing the garlic. He used a razor and he used to slice it so thin that it used to liquefy in the pan with just a little oil. It was a very good system. Vinnie was in charge of the tomato sauce. I felt he used too many onions but it was still a very good sauce.”
“Vinnie, don’t put too many onions in the sauce,” Paulie chimes in on cue.
“Johnny Dio did the meat,” Henry continues. “We didn’t have a broiler so Johnny did everything in a pan. It used to smell up the joint something awful, and the hacks used to die, but he still cooked a great steak.”
“How do you like yours?” Johnny asks, holding a cigar in his mouth and cooking in a red silk robe.
“Rare, medium rare.”
“Medium rare? Hmm, an aristocrat.”
A box of lobsters on ice gets delivered, and they’re added to a stuffed ice box holding delectably marbled steaks. Paulie pours a whiskey from a decanter as Henry walks in with a loaded sack so heavy he needs both arms to tote it.
“So what’d you bring?” Paulie asks.
“Bread.” He throws the loaf to Paulie, who squeezes it and says, “Good! Fresh.”
“Vinnie, I got your peppers and onions. Salami. Prosciutto. A lot of cheese.” (“C’mon c’mon, what else?”)
“Scotch.” (“Nice.”)
“Some red wine.” (“OK. Now we can eat.”)
“I got some white, too.” (“Gimme the white too. Beautiful. OK boys, let’s eat. C’mon Freddy, Vinnie. Tomorrow we eat sandwiches, we gotta go on a diet.”)
Henry unpacks his drugs as the rest of the crew toast and laugh and celebrate, the wheels already in motion for his post-prison downfall. Even when a magnificent, minutes-long food fest takes center stage, the plot still advances. It’s always about the food in Goodfellas, you see, but it’s never just about the food in Goodfellas.
1. “Egg noodles and ketchup.”
The final scene of the film takes the top spot. It encapsulates the movie’s entire point, and it comes back to — guess what? — food. Lame, weird-robe-wearing, suburban dad Henry Hill opens up the door of his new generic, cookie-cutter home and tells us about the lowest of the lows of which he’s forced to deal.
“I can’t even get decent food,” he laments. “Right after I got here I ordered some spaghetti with marinara sauce and I got egg noodles and ketchup. I’m an average nobody. I get to live the rest of my life like a schnook.”
What’s Henry Hill’s worst punishment? The anonymity of a regular schnook is bad enough. Think back to one of young Henry’s monologues about his early inclinations to join the ranks: “To me, being a gangster was better than being the president of the United States… it meant being somebody in a neighborhood that was full of nobodies.” Losing that and becoming “an average nobody” is a cruel blow.
But bad Italian food? Insultingly incorrect and malformed Italian food? That’s even worse. It’s as bad as it gets.
Because nothing in life for Henry — a life where food, power and social status, not to mention family and friends, deal-making, good news and bad news, everything, is all intertwined and served up at the dinner table — is worse than eating downright terrible food and knowing what else is out there, what could and rightfully should be his, just beyond his grasp. It’s the biggest insult. The harshest reality. An utter waste. He’s a rat, but he’s alive, doomed to wither away in suburbia for the rest of his days. Covered in ketchup, like a schnook.
It’s a fitting end for life as he knew it, a fitting end for the film, and a fitting end for our list.
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"Objectifying somebody's body part? Yeah, that was disturbing," said Patterson, 63. "It is infuriating because you're being treated like an object. And it's disturbing and it's disgusting, and I had to endure that through that entire scene and many takes … it was the most disturbing time I have ever spent on that set. I couldn't wait for that day to be over."
Patterson added that the scene made him feel like "some kind of meat stick."
The actor is aware that Hollywood regularly objectifies female characters — and reminded listeners that it's not different with a man in the role. "It's as disgusting for women to objectify men as it for men to objectify women and it's as harmful."
"Just because it was 2003 didn't mean it was okay. It's never okay. And I didn't feel comfortable doing it and it pissed me off," he continued. "I never said anything so I was angry at myself for never saying anything but, you know, I had this job and I didn't want to make waves and all that."
Netflix/Courtesy Everett Collection
Patterson also added that he became skeptical of his time on the show — based on how the show's creators saw him and his character, as well as his potential to be nominated for an Emmy with such a body-forward plot.
He urged listeners to imagine his situation: "Stand there in front of all those people filming and this is how the creator of that show sees that character. That you can humiliate him and take away his dignity that entire scene and that's okay," he said. "That's the one thing I hate about this episode is that scene."
Still, Patterson added, he understands why viewers laughed at the scene due to the comedic editing and strong acting by all in the scene.
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Gilmore Girls originally aired from 2000 to 2007 on The WB. A reboot of the series, Gilmore Girls: A Year in the Life, aired four episodes on Netflix in 2016.
ATLANTA —A character in the hit television seriesAnaesthesia Blueswas shown with longer hair in one scene so that viewers would know that it was a flashback scene, according to those familiar with the situation.
“At first, I was like, whoa, why does Marcus look slightly different? Then he pulled out a flip phone, and I was like, whoa, why did Marcus get rid of his iconic iPhone to start using one of those old Nokias? Then he started complaining about President George W. Bush, and I was like, whoa, why is he so hung up on such an old president? Then Lindsay showed up in the scene, and I was like, whoa, is she a ghost? Didn’t she die three seasons ago? That’s when I realized that Marcus’ hair was shaggier than normal, so it must have been a scene that took place in a year before the show started,” saidAnaesthesia Bluesviewer Lex MacDonald. “I appreciate when the show gives me little hints to help me figure out when the scene takes place.”
According to longtimeAnaesthesia Blueswriter Caine Schneider, Marcus’ longer hair was an intentional voice to help viewers understand the scene better.
“The longer hair was crucial to setting the date of the scene, because, as everyone knows, your hair is longer when you’re younger,” Schneider explained in a behind-the-scenes interview that followed the airing of the show’s newest episode. “Everything else about the character can stay the same, though, of course. It doesn’t matter if the actor is 20 years older than they should be in that scene, so long as they wear a floppy wig — that’s how you know it’s in the past. If we ever do a scene in the future, we’ll make sure to give Marcus a comb-over. It’s like how you know a scene is in Mexico if it’s orange, but for time.”
At press time,Anaesthesia Blueswas reportedly in danger of being canceled by HBO Max due to its extensive hair and make-up budget of one shaggy wig.
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