A special tip of the wingtips to my GirlCousin, who sent me this one. Turn it up and sing along. I agree with everything, except I think the RLA and I are bound for New Zealand if this election goes to the McPalin ticket.

Previously on Project Runway, Kenley was a stank bitch, Korto fell apart and Jerell won the evening gown portion of the competition, but was still eligible for elimination, proving that anybody can get screwed over by ratings at any time.

Heidi comes to the runway in something sheer and poofy and possibly by Christian Siriano. The four designers will have to go home and make a collection of 10 looks. They will have two months and eight thousand dollars. And since they all sucked in the last challenge, one of those ten designs must be a wedding dress. That dress should sum up their collection, and will be the deciding challenge when they return to New York. One final cut will be made and only three designers will compete at Fashion Week.

And they’re off. Jerell sits in the lobby as Stankenley pulls her suitcase past and refuses to say good-bye to him. She delivers a final interview where she says that the other designers hate her and the feeling is mutual and they all sabotaged her and blahblahpoorpoorpitifulme. The other girls reach the lobby, there is much hugging and loving, and they are sent away to make the magic happen.

Tim’s On the Road, Again

First stop, Little Rock, Arkansas, where he meets up with Korto in her super-cool studio in the woods. She says that she’s inspired by the snakes and the trees and the beautiful shades of green around the studio. She’s also inspired by her native culture. She is accessorizing with her own beadwork (which is very nice).

She shows Tim a lime green snakeskin dress that is extremely form fitting and which has a vulva-shaped inset in beige in the girly-bits area, and the whole thing is so overtly sexual that Tim gets a little unsettled. Of course, Korto doesn’t see it. Her wedding dress is not looking like a wedding dress, and Tim thinks there’s a lot of work left to do.

Korto takes Tim to her home to meet her family, and there is a review of her emigree background. She says that the experience taught her that just because you fall, you don’t have to stay on the ground. She and her drumming partner perform a drumming session for Tim. There are nice looking cocktails on the table.

Next stop: Portland, Oregon and Leanne

Leanne welcomes Tim to her home and introduces him to her sort of nerdy boy friend. Then she tells him that when she got back to Portland, she went to the waterfront and sketched and sketched. Her inspiration for her collection is wave patterns and how she interpreted the movement. Her color palette is tight and limited, but in a very ethereal range. Tim is concerned that the white is too white and suggests that Leanne tea-dye some of it.

Her wedding dress is stiffer and less flowing than the rest of the collection. Tim reminds Leanne that the wedding dress is the make or break piece. Then Leanne takes Tim for a ride through the woods on a tandem bike. Tim is still in his suit. It’s sort of, uh, awkward. But sweet. Leanne tells her back story: baby ballerina, started making her own costumes, wanted to be a designer since she was twelve. Sweet.

Los Angeles, Here Tim Comes

Jerell has grown a goatee. He’s hotter than ever. He takes Tim to his studio where we see piles and piles of fabrics, each one more glittery or ugly than the last. Jerell is into mixing textures and unexpected colors. Or, Jerell is color blind. I think we should look into that possibility. His wedding dress is beige and grey and rouched and tulle poufs and beaded bodices and everything else he could throw at it. Tim thinks that Jerell needs to edit himself. He’s also unhappy with how asymmetrical the wedding gown is. Tim cautions that the collection needs to be believable, and not look costume-y.

Then it’s off to meet the family. Pretty people (especially the love interest. Damn.) Jerell’s mom says that she always knew Jerell was going to do something in the creative field. Jerell says that when he was four, he took a tube sock and cut it up to be a dress with a train. I’m not sure if it was for him or a doll. Very sketchy. Jerell’s daddy was a truck driver who was never home because he was working to lift his family out of the neighborhood they lived in (Rodney King riots were literally next door). Jerell cries.

Back in NY

Kenley is working from her studio apartment in Brooklyn. She has a sofa that’s either from Urban Outfitters or Anthropologie. I recognize the black and white print, at any rate. The editors attempt a redemption arc by letting her say that she really values everything Tim has to say, even if her snotty attitude and eye-rolling and “what does Tim know”-ing makes it seem that she doesn’t. She tells us that her grandmother was a calendar girl, and shows us a photo that is clearly the inspiration of everything Kenley has ever made. She cries and picks her nose.

Tim comes in and gushes all over the wedding dress, which is, as much as I hate to say it, totally amazing. There is a feather bodice and peplum that explodes into a huge tulle skirt. She’s got some green thing on a mannequin, and has accessorized with black rope wound several times around the mannequin’s neck. This squicks Tim right out, and he asks Kenley about the noose thing and if she had given any thought to the fact that it might look like someone was hanging themselves. No, she hadn’t and of course it doesn’t look like that. Her daddy was a tug boat captain and she grew up playing with rope. She has no friends or family to introduce to Tim. (Figures)

And We’re Back

Korto arrives at the Atlas first, and is nervous about seeing Stankley again. She doesn’t want to have to room with her. Fortunately, Leanne is the next to arrive, and she and Korto stake a claim on one suite, together. Jerell shows up next (without the hot goatee) and the girls apologize for making him room with Kenley. He asks them to check on him once in a while to make sure she hasn’t killed him in his sleep.

Kenley finally shows up and as she’s dragging her suitcase past the others, throws back over her shoulder, “Yeah, sorry if I was a bitch or whatever.” It’s as heartfelt as it’s gonna get, people. The sponsors arrive with champagne and nibbly bits and so, to bed.

In the BlowFly Workroom

The designers unpack and check out each other’s work. Tim comes in to give them a final pep talk and ruin their lives with one more, final, last challenge. Let’s make a bridesmaid’s dress to go with your wedding gown. One day to have a nervous breakdown, and $150 to spend at Mood. Let’s roll. Leanne knows exactly what she wants to do and the colors and fabrics she wants to use. No drama to see here, let’s move on.

Back in the workroom, Kenley is digging at and picking a fight with Korto, who just ignores her. Jerell is miserable and says that all bridesmaids gowns are butt ugly. Korto says that hers weren’t.

Tim comes in for the walkabout and starts with Kenley, who is doing a dark blue bubble skirt and a darker blue boat neck top, with the same cut away armholes she used on her Solo in the Spotlight lizard dress. I find the skirt way too short.

Jerell has mangled some slate blue crispy organza into a column dress with a sash decorated with a stem of silk orchids. It is bunchy and wrinkly. He tells Tim that he’s going to use what looks like ivory acrylic bulky-weight knitting yarn to attach the silk flowers to the dress. Tim is very properly horrified at this suggestion and tells Jerell not to fight with Mother Nature. Or NinaGarcia, says Jerell. Or NinaGarcia, agrees Tim. I love Jerell, but he has thrown this challenge in the toilet with that bridesmaids monstrosity.

Tim discovers that Leanne has taken his advice regarding her wedding dress and completely remade it. Now it looks like an origami meringue, and I say that in the most respectful and quite frankly, awestruck way possible. Her bridesmaid’s dress is the perfect compliment, and Tim tells her to bring thought to the length of it.

Korto has pretty much given up, too and her bridesmaid’s dress looks a lot like the wedding dress. Too much so, says Tim. And then, our man Tim Gunn starts to cry. He loves them all, and he wants them all to do well. Tim’s never cried on the designers before. What’s all this then?

Runway Day

Jerell dresses funny. That’s all I’m saying. The designers all look like five miles of bad road. The models are coming in for hair and make up. Kenley complains to the camera that when she looked around the workroom, she saw that both Korto and Leanne copied her paper. Those big cheaters made short bridesmaids dresses, too. Just like her. They knocked off her design. Remember that. There is crying from Korto. There is Heidi in another sheer blouse that looks like a Christian Siriano.

And there is the show. Jerell’s models come out, and the girl in the bridesmaid’s dress is wearing the rest of the potted orchid on her head. Oh, Jerell. The colors are gorgeous, but the whole thing looks like he dug it out of the bottom of the dirty laundry hamper.

Kenley’s wedding dress is still amazing and gorgeous. I still don’t think the two pieces work together and the bubble skirt is still about 6 inches too short.

Korto’s dresses don’t look like a wedding party. Leanne’s wedding dress is stunning. And it has pockets. I love it, but what do the judges have to say? And there is no guest judge, just Heidi, NinaGarcia and Michael Kors.

They love Leanne’s dress, too. NinaGarcia calls it “chic, modern and dreamy.” MK loves it and Heidi declares it “Fan-TASST-ik”. Jerell’s dress, though, not so much. Michael loves the wedding dress from the empire down, but the rest he finds garish. Jerell says that he finds it regal. See, this is why drag queen is a bad phrase for designers. Not all queens are regal, sweetiedarling. And the flower pot on the head is certain death to Jerell’s dreams. NinaGarcia thinks the colors look dingy and dirty.

And now, Kenley. Well, they love her wedding dress, and Michael says it’s fabulous but it’s also Alexander McQueen. Kenley denies it and reminds everyone that she doesn’t look at other collections. You be the judge.

And then, in the biggest fix since I don’t know: the 2000 election in Florida, Heidi and Michael just gush all over the fucking wedding party, heaping undeserved love all over the knocked-off wedding dress and the too-short bubble skirt. It’s disgusting. It’s crazy good says Heidi, and Kenley is obnoxious in victory, squealing an over-the-top “RILLLLLY????” and dabbing onion juice at her eyes so she can cry without the snot running down her nose.

Korto’s two pieces get a series of disdainful sniffs, snipes and an “I wouldn’t wear that on a bet” from Heidi, and then we are on to the judging.

Leanne’s dress is both architectural and romantic. Kenley’s rip-off of AMQ is a great show finale dress. Korto’s doesn’t look like a wedding and Jerell went hog wild, threw too much of everything into both pieces and lost his last semblance of taste. Despite the audience voting overwhelmingly to toss Kenley off the stage for good, and not let her show her sour puss at fashion week, the final three are Leanne, Kenley and Korto.

Jerell is not down though, as he tells us in his exit interview that he sees himself at 80 getting a call from the Metropolitan asking to do a retrospective of his life’s work. And with that, we are done. Until next week, when we finally learn who wins. And if it isn’t Leanne, then I’m done with this show, too.

Thoughts on last night’s “debate”, if by debate, you mean competing talking points and stump speeches.

According to the LA Times, McCain used the phrase “my friend(s)” 24 times in 90 minutes. If you allow for the questions and Tom Brokaw reminding them of the agreed upon time limits, that would be maybe 35 minutes of talking time for each candidate, which means that John McCain referred to me as his friend on average of once every 85 seconds. It got on my nerves. There is no way in hell that he and I could ever be friends in real life.

Another annoying verbal tic on his part is that simpering, self-deprecating snigger (heh, heh, heh) whenever he says something that he thinks is clever. It reminded me of nothing more than Mickey Mouse, who does the same thing. In the same octave and register. Make of it what you will. At one point I turned to my husband and said, I would never let that man near a grade-school playground. He is very creepy. The RLA said that he thought McCain would scare the children. I was thinking something a little more sinister.

My man Barack Obama has his own little verbal ideosyncracy, which is no less annoying: He begins his statements with “Look.” And I understand, I do, I sympathize with someone who had to be the smartest guy in the room last night, trying to make a point to those who would not see...or hear. “Look, it’s really simple” is what I’m sure he wanted to say.

The faces on the crowd members ranged from “I’m smelling something nasty” to “you gotta be fuckin’ kidding me with this shit, right?” And yet, there was that control group, sitting there talking to the talking heads and professing that they still couldn’t decide who to vote for. Like there’s a choice? It’s the economy, stupid. And the economy is in the giant, reeking crapper. And that propped up rotting corpse with the FemBot Veep in the wings, waiting to bring on the End of Days has been in the catbird seat for thirty years. Keating Five. The Great Recession of the late 80s-early 90s that resulted from the deregulation of the S&Ls. Sort of the dry run for the Even Greater Depression that we are careening into today, as a result of deregulating the traditional banking industry.

I’ll tell you something else. I don’t give a flying rat’s patootie if drilling off the coast of Florida would solve all of America’s energy problems tomorrow and for the next 100 years. It would fuck up the environment irrevocably long before that. I don’t want drilling in the Gulf or the Atlantic or in the Florida Straights. Period. Stick a few hundred wind mills out there, instead. Figure out hydro solutions with the tides. Put solar panels on the roof of the new Marlins Stadium. But no drilling off-shore.

I loved the question from someone on-line who said what would you ask the American people to do, to sacrifice to help the various challenges the nation faces? Obama almost came close to having concrete answers to that. Finally, what ever happened to real debate? You know, pro/con? Lincoln vs Douglas style oration and on-your-feet thinking? I’d pay to see that, but I fear that I’ll never see that kind of political exchange in my life-time. 

The best political reporter today is an ex-sports writer. But he’s not afraid to take off the gloves when dealing with the Fem-Bot/Stepford Veep. Twenty-three Skidoo!!

I tried to watch the Veep debate, I really did. I played Palin Bingo, and was a single “Working Mom” away from winning when she delivered the punchy soundbite she’d set up the minute she walked on the stage and asked Senator Biden if she could call him Joe. That zinger, that you know McSame pundits just pissed themselves over was this: “Say it ain’t so, Joe”.

“Say it ain’t so” is a line from baseball legend, the apocryphal tale of a small fan asking Shoeless Joe Jackson if he had, in fact, been involved in the plot for the Chicago White Sox to throw the 1919 World Series. Yeah. 1919. Except for baseball junkies, and movie goers who saw the film “Eight Men Out” (which was the movie we went to see the night the Anti Christ and I split, and he moved out, and which, in my head will forever be “Nine Men Out"), who knows what that phrase referenced? In terms of archaic humor, this little guy is a whiz-banger. Twenty-three skidoo!

Next, instead of saying “yer darn tootin’” or one of her other patented down-homey colloquialisms, Ms. Palin will be exclaiming that her running mate is the bee’s knees. I can’t wait to see them cut a rug, maybe doing the Turkey Trot or the Charleston. Good lord, how pathetic is this? And they’re claiming that Obama and Biden are out of touch? Let’s practice speaking McSame, shall we?

“That Sarah Palin is a bearcat in cheaters.”
“She tried to sound like she knew her onions, but it was all a load of chewing gum.”
“John McCain is a flyboy who keeps saying things are jake, but he can tell that to Sweeney.”

Your turn. To help, a list of Jazz Age slang can be found here.

We open in the Atlas, where Korto is brushing her teeth in the kitchenette sink. Ewww. Not nice. And I love Korto, but still. In the kitchen sink? Leanne offers an interview wherein she says that Kenley should have been gone a long time ago, for her stank attitude, disrespectful demeanor and all around general rudeness to the world. And because she can’t design, either.

Kenley, however, interviews that Leanne is a bitch who threw her under a bus in the last challenge by not working/selling her garment on the runway and making Kenley look like a fool. The Number Three Surrogate Daughter and I agree that Kenley can do that just fine without any help from anyone. Kenley uses the word sabotage, even. Sabotage, from the French sabot, for the wooden shoes the mill workers threw in the machinery during the Industrial Revolution, to break the mechanical looms and retain their jobs. This ends today’s language lesson.

Jerell is sitting on the floor in what used to be the boys’ dorm, alone except for his Tim Gunn bobble head doll, and the two apples he’s named Joe and Suede. He holds the Suede apple and talks in the third person: “Suede wants you to do well today, Jerell.” As he leaves, he reminds the fruit not to rot on the counter while he’s gone. Oh, Jerell.

At Parson’s there is another model swap non-event, as Korto keeps Katarina and Seveera is sent away in her slip. Tim is waiting for the remaining designers in the lobby, as there is yet another (or last) field trip. This one finds the designers in the New York Botanical Garden, where they meet Collier Strong, lead makeup artist for Loreal Paris. He tells them that the textures and colors of nature are the inspiration for some line of cosmetics or another, and that their final challenge will be to design an evening gown inspired by nature. Specifically, the nature in the New York Botanical Garden. They get a digital camera, and an hour.

Jerell wanders around and finds a bed of purple and fuchsia roses. He’s happy. Leanne wanders around surrounded by bees. She’s not happy, but she takes lovely photos of out of focus lavender flowers. They aren’t Lavender flowers, they are merely the color lavender. Korto finds a spot that has flowers that reminds her of her mother’s garden in Africa. The flowers are spiky and range in color from cadmium orange to lemon yellow, all on the same spike. She says that she’s going to win this challenge for her momma. Kenley declares that this is her challenge because she is all about color (and ugly floral prints). She crows and caws her usual line of drivel about being the best.

Back at Parsons, the designers have 30 minutes to pick their inspirational photo. They will have 2 days to sew, and a budget of $250 to spend at Mood. Korto is using her Flamenco flower, and Jerell his roses. Kenley alone has chosen something that is not a flower. She’s focused on a purple coleus, and has a photo of a cluster of leaves. At Mood, she bolts off looking for tulle (of course) and then finds what she says is the “perfect” fabric to represent her leaves: a fuchsia fake lizard skin. It is a literal depiction of the texture in the coleus.

Korto is sweating because she has no background in evening wear. Well, she never made men’s pants before she won with her punk look for Suede, so take heart, Korto. Leanne is sketching a tiered effect using a softer, more draped version of her flaps and noodles. Kenley panics when she realizes that she left her bag of tulle at Mood. Tulle. Who the fuck uses tulle except wedding dress makers and ballet costumers? Kenley. Kenley uses it like bad cooks use salt: everywhere and in everything.

As it happens, both Korto and Jerell have tulle that neither of them is going to use. But, you know? Karma is a bitch, just like Kenley, and neither Korto nor Jerell have any intention of letting Kenley get her hands on a square inch of it. Jerell amuses himself by leaving his piles of tulle on clear display on his work table.

DAY TWO

Jerell comes into the girls’ dorm to say hi and ask Korto to give him a smokey eye. In the workroom, Kenley asks Jerell if his tulle is for sale, and he grins and says nopey. Tim discovers Kenley’s shortage, and tells her that she can hot foot it back to Mood on her own time to get her tulle, if she needs it. But for now, it’s models and fittings. We see Leanne and her soft periwinkle blue fabric. Kenley is using her faux snakeskin to make a basic tube dress.

Collier comes in and discusses the models’ makeup designs. Kenley wants a dark, dramatic eye. Jerell gets to use lime green on the eye, and purple on the lips. Korto is going gold and glowy, and Leanne delicate and flower-like. Sweet. Jerell and Korto are nose to nose and toes to toes, giggling and sharing a moment. Kenley is sitting by herself. She interviews that she’s alone. The other designers are bonding, and she’s all by herself. It’s been like this her whole life. She doesn’t know why.

Hey, Kenley? The reason it’s been like this your whole life is because you are the nastiest, meanest, rudest little snot-nosed bitch to ever grace reality teevee. Really. You make Puck look like a saint.

Kenley goes on to say that her daddy was a tug boat captain, and she spent her childhood out at sea. Raised by sea wolves? Anyway, she says, she can’t help it. “I am who I am.” You know? Sometimes, it’s just too easy. My notes say: “Insert Popeye joke here.” I’m guessing that Swee’ Pea turned out to be the bastard child of Olive Oyl and Bluto, and now she’s here on Project Runway.

Tim comes in for his walkabout, and begins with Korto. Talk to me about the lace. It’s all sleek and 2008 in the front and Catherine the Great in the back. Resolve the lace, Korto.

Kenley announces that she loves her dress. Tim is so over Kenley. He says that the bottom looks like fish scales. Kenley is delighted to hear that. Tim reminds her that this was a botanical challenge and not an oceanic. Kenley hears “blah, blah, blah, Kenley, blah, blah, blah” and is thrilled that Tim has praised her work so highly.

Jerell’s dress has the potential to knock everyone’s socks off. But it needs refining and work. Of Leanne’s dress, Tim says, and I quote: “Blerg.” He calls it Hello, Dolly. As he leaves, he tells the remaining four that he’s immensely proud of them and to work, work, work. Instead, they all cry, cry, cry. The pressure has finally gotten to them all. Leanne’s crying over how much work she has left to do. She’s wanted to show at Fashion Week since she was 12.

DAY OF SHOW

We see Jerell ironing his clothes, and dress in a towel. Now he’s crying. Korto is praying and crying. The only one not crying is Kenley, and that’s because she’s too busy saying that she hates everyone else and their work sucks, too. In short, her opinion is that she doesn’t like anything Korto does. Jerell throws a bunch of glamorous shit together and it looks like crafts projects and Leanne does pleated details. Hofuckinghum, seen it all before.

Whereas, nobody’s done retro WWII dresses, ever.

Leanne is still sniveling that this isn’t going to be her best work. Korto is stressing. And with that, we hit the runway. Tonight’s guest judge is Georgina Chapman, founder and designer for Marchesa.

Korto’s dress is, well, uh, boring, actually. Leanne’s lavender is interesting and asymmetrical, but the dark blue fishtail in the back looks like an afterthought. Jerell’s dress is draped and fitted in the front (albeit frighteningly low across the bust) and has a sac back. There are layers of color in the front. Kenley has stuck a little black patent leather belt around the waist of her dress. It is a simple, skin-tight tube with cut-away armholes. At the bottom are layers of flaps with satin edging. It looks a lot like my Barbie doll’s Solo in the Spotlight dress.

Beginning with Leanne, the judges are impressed with her work. The bodice is great, says Chapman. NinaGarcia says that it’s feminine and soft. Michael Kors is distracted by the dark blue bustle (See?) and Heidi says that the dress is pretty.

Korto’s flamenco flower dress is dismissed as “pageant” by Michael and Heidi. NinaGarcia thinks that it’s overworked, and not sophisticated. Korto tried too hard to impress the judges, and lost her taste.

Jerell’s dress makes Heidi want to jump up on the runway and hike the girl’s bodice up about 4 inches. NinaGarcia finds it “messy but youthful”. Chapman asks what Jerell would have done with extra time to make the workmanship better.

And then there’s Little Miss Can’t Be Wrong. Georgina says that it isn’t organic. NinaGarcia says that it looks like a reptile (and as Kenley interrupts to say thanks for the compliment, you get me, you really get me) NinaGarcia continues her sentence with “and not in a good way. It is not young or hip or cool at all.” Michael Kors tells Kenley that it’s clichéd and she tells him it isn’t. Heidi remarks that the dress isn’t very elegant, and Kenley snarls that “I wasn’t GOING for elegant, HEIDI.” It is truly an amazing performance. The amount of self-satisfaction combined with complete and utter incapacity for criticism and knowing one’s place is stunning.

So. Heidi asks the final question of each designer: Why you, and who else do you think should show at Bryant Park? Jerell is up first, and cries and cries and gets all twitterpated, and finally arrives at the answer that he should be joined by Korto and Leanne because the retro thing that Kenley does is old. Kenley interrupts him to bitch at him and Jerell stops crying long enough to tell her to stuff a sock in it and she’ll get her own turn to speak. Yeah for Jerell.

Leanne promises not to be boring and wants to see Jerell and Korto with her, because they are at the same level of talent, unlike Kenley who only has the same old same old. Korto wants to show because she’s the oldest of the designers and she wants to prove that it’s never too late to achieve a dream and she wants to show a little of her cultural heritage. And yeah, Leanne and Jerell are really sweet human beings with really fine designs and should be the other designers in the tent.

Needless to say, none of this sits well with our little nest of vipers, and Kenley shits on Korto the most, saying that her work is boring and although she would personally, rather not see any of the others at Bryant Park, if forced to choose, she’d grudgingly accept Leanne and Jerell.

The judges agree that this was not the best show of the year. NinaGarcia makes a face that matches the “blerg” Tim uttered in the workroom. Georgina Chapman says that she would like to see more of Leanne’s work, and that she finds Jerell’s work intriguing. There are concerns about his finishing techniques, but his point of view is young and exciting.

Korto’s final dress was too pageanty and clichéd, but her workmanship is impeccable. Her color sense is also applauded. Kenley? Not so much. Chapman says that she saw nothing of Kenley’s promise or the style that the other judges swore she had. And then Miss Kors delivers. Forget what her clothes look like, he says. She’s rude. Can you imagine her if a buyer said he didn’t like a sleeve? What would she do? Take a knife out and kill him?

With that we cut to the last freaking Bluefly commercial of the show and I truly, deeply hope that smug bitch gets some clothes before next season.

Heidi tells the designers that this was the closest runway they’ve judged in 5 seasons. Only three will compete at Fashion Week. Leanne and Jerell had the highest scores, and Jerell squeaks by with the win. All four designers must go home and create a collection, and all four are still in the running. The final three will be determined when they come back to New York for Fashion Week. This means that Jerell can still be eliminated.

Backstage, Tim calls for a group hug. Kenley interviews that it’s annoying that the other designers hate her, but it just makes her want to beat them into the dirt. This attitude may be why they (and we) hate you so, Kenley. You are a rude, insensitive, self-absorbed skank bitch. And your designs suck, too.

One last preview shows Jerell, Korto and Leanne sitting together in the hotel as they return for Fashion Week. Kenley is heard in voice over saying that it isn’t worth even talking to the others, because she’s never going to see any of them ever again.

You know? Probably not so. For sure you’ll be trotted out together for reunion shows, and guest appearances. And if, as you all so deeply desire, you make it in the fashion world, it’s a pretty small circle. Most likely scenario is that you will see them and they will cut you cold. Like the flounder you are.

Next week? It’s Erev Yom Kippur, you idiots! I’m going to have to go to RJ’s as soon as services let out, because she’s the one with TIVO.

That Sarah Palin is an unmitigated idiot, a Stepford Veep, a fem-bot with her logic chip impaired, this video should dispel all doubts. Compare and contrast, muthafuggers.

I’ll be back later with my Project Runway recap, because, you know, all politics and no play makes me more unbearable than Sarah Palin.

OH. MY. GOD. The Rude Pundit has outdone himself, again. I’m having a shitty day here at my shitty job, and the car I’m trying to sell has to have work before I can sell it, and my husband’s run up a dental bill of about $2000 this last month, and the special snowflake that I work with is up my ass so far that if I grind my teeth any harder, I’m going to shatter one or more, but I read Rude’s essay on what Joe Biden should say about Sarah’s readiness to serve, and I laughed out loud. And felt a little bit better for a minute or two.