Latest news with #andtheHolyGrail
Buzz Feed
06-07-2025
- Entertainment
- Buzz Feed
People Are Sharing The Silliest Films They Rewatch
On the always hilarious subreddit r/AskReddit, Reddit user u/Equal-Ground2281 asked people to share what silly movie they MUST WATCH every time it's on TV or streaming. The results lead me to believe we all have the same sense of humor: "Robin Hood: Men In Tights." "Monty Python and the Holy Grail. Every time I watch it, I can hear my dad's laugh and him quoting it. Great memories." "Galaxy Quest. Alan Rickman was the best." "Airplane." "The Emperor's New Groove." "My Cousin Vinny." "Blazing Saddles." "Clue." "The Jerk" "National Lampoon's Christmas Vacation is another for me. Cousin Eddy is so funny." "The Naked Gun." "Harold and Kumar Go To White Castle. Such a stupid and cheesy movie, but their little adventure is fun lol." "Spaceballs." "Police Academy. Man, I am deeply in love with that movie so much so that we watched it in the house almost every day, and I am still watching it on my phone with every opportunity I have." "Planes, Trains, and Automobiles." "Napoleon Dynamite, gosh!" "Tropic Thunder." "Princess Bride." "Young Frankenstein." "Happy Gilmore." "Groundhog Day." "Anchorman." "Pee-wee's Big Adventure." "Dumb and Dumber." "Super Troopers." "Step Brothers." "Nacho Libre." "Tucker and Dale vs. Evil." "Blades of Glory for some reason." "Mrs. Doubtfire." "Clueless." "Grandma's Boy." "The Blues Brothers." "Armageddon." "Zoolander." "Shrek 2" And finally, "Not Another Teen Movie." What is the silliest movie you constantly watch on loop? Comment below and why!
Mint
10-05-2025
- Business
- Mint
The giants of Silicon Valley are having a midlife crisis over AI
Middle age hits hard—even for the Kings of Silicon Valley. One minute you're upending established industries as the young disrupter. The next, you're staring into the abyss, eating glass—as Elon Musk likes to say—watching the disruption at your door. Most, if not all, of the Magnificent Seven are in that position—weirdly trying at the same time to figure out the threat of artificial intelligence to their kingdoms. That dynamic has been on display the past few weeks: Alphabet's stock dropped more than 7% Wednesday after a senior Apple executive disclosed that Google search-traffic on its devices using Safari fell for the first time in 20 years. (Google later clarified it continues to see overall search growth, even from Apple devices.) For his part, Apple Chief Executive Tim Cook is trying to buy time for his company, pushing investors during his latest earnings call to be patient with the iPhone maker's delays around AI features. Then there is Facebook co-founder Mark Zuckerberg's attempt to paint a bright future for his ad-dollar juggernaut as something of an AI-buddy for the lonely. Even Musk seems to be sweating things as he returns from his DOGE sojourn to Tesla, seeking to counter a slide in the electric carmaker's stock price with promises of deploying driverless cars. 'We're not on edge of death—not even close," Musk told analysts recently. His protests sounded like that 'Monty Python and the Holy Grail" character about to be thrown on a pile of corpses: 'I'm not dead! … I feel happy!" To be fair, none of these giants are dead—yet. And they have lots of reasons to feel happy—they are wildly profitable pillars of corporate America and together represent around $7 trillion of market value. Yet the crossroads they all stand at, collectively, and how they react, individually, look like ready-made case studies for a 21st century update of the classic business school book 'The Innovator's Dilemma." Author Clayton Christensen tried to explain how new products or services displace existing players by creating new markets. It was a book that made the term 'disruption" wildly popular in boardrooms—even if used in a way the late Christensen didn't always intend. The gist of his theory was that successful companies doing everything seemingly right can fail when smaller companies—not constrained by what has been—rise up, often with new technologies or processes. Think Netflix targeting through-the-mail subscribers versus Blockbuster's in-store model. Many turned to this book to explain the dot-com boom that helped usher in the current crop of Silicon Valley heroes. There are rough parallels today. Just as the internet was a new technology that could do lots of things, AI holds many promises. But in these early innings, it isn't clear how AI will be deployed—or by whom or when. for example, wasn't the winner many thought. That's the rub. Even Christensen had a hard time predicting disrupters, like Apple's iPhone. When the gadget came out in 2007, the Harvard professor didn't see it as a threat to phones. In fact, the device ushered in a new era of mobile computing and the App app marketplace, however, might look a lot different if companies are reaching customers in different ways. AI agents, for example, could upend the App Store way of the world. So far, Apple's answer to AI has appeared to be heavy on the hype. 'We just need more time to complete the work so they meet our high-quality bar," Cook told investors during Apple's recent earnings call about the delay. At least Google has an AI assistant, Gemini, though it's unclear if that chatbot will be enough to save its real business—advertising, which accounted for most of its revenue last year. That's a lot of ads sold off users clicking on links in a world where people increasingly ask a chatbot their questions, like: What is 'The Innovator's Dilemma" about? Still, it might be surprising that no dominant platform seems to have a winning formula just yet. That gives hope to the likes of Sarah Guo, a young venture capitalist in Silicon Valley. She is trying to make her mark by investing in the next hot AI startup that might dethrone the big dogs. 'There are many claims you can make strategically about why a company shouldn't exist: because Microsoft should build it or Apple should build or Google should build it," she told me during the recent episode of the 'Bold Names" podcast. But, often for these established companies, she said, it can be hard 'being creative with a risky new product." Just ask Google. The early days of Gemini were marred by apologies and promises to do better after its chat responses were seen as biased and—according to CEO Sundar Pichai—unacceptable. The rollout occurred amid concerns that startup OpenAI was ahead in the space, even though Google had been working on AI for a long while. 'No AI is perfect, especially at this emerging stage of the industry's development, but we know the bar is high for us and we will keep at it for however long it takes," Pichai wrote at the time. Sometimes big breakthrough innovations, which we want to call disruptive, in fact help sustain existing businesses. Microsoft—with a market value that has again surpassed Apple—is looking pretty savvy having embraced AI for its workplace products. Nvidia, too, has been a big beneficiary of AI companies gobbling up its high-price chips needed for developing their models. Yet the emergence of China's DeepSeek and other new AI models that supposedly use far less pricey computing power raise new questions. It remains unclear where the value of the new technology will land. It's all such a dilemma. At least, nobody is dead—yet. Write to Tim Higgins at
The Guardian
28-04-2025
- Entertainment
- The Guardian
Monty Python and the Holy Grail at 50: a hilarious comic peak
It was with some surprise, as I gathered my recollections of Monty Python and the Holy Grail before its 50th anniversary this week, that I realised I had seen it in full only once, back when I and the film were both considerably younger. It felt like more. The first fully narrative feature by Britain's best-loved TV sketch troupe is among the most fondly, frequently and recognisably referenced comedies in all cinema; the film's best scenes are hard to separate from various everyday quotations or pub impressions thereof. Some comedy is made not so much to stand as individual art than to be absorbed into our collective comic language, and so it is with Monty Python, their best work a stew of endlessly imitable idioms and accents, to be relished with or without context. In all truth, I remembered laughing at Monty Python and the Holy Grail more vividly than I remembered exactly what I was laughing at. For this I must blame my late father, whose laughter – loud and barking, often a beat ahead of lines already known and eagerly anticipated – I perhaps recall more vividly than my own. The film was one of a jumbled canon of comedies that, over the course of my childhood, he eagerly presented to my brother and I as apices of the form, with hit-and-miss results. (Paper Moon? Wholly shared joy. Those Magnificent Men in Their Flying Machines? He chuckled alone.) Monty Python and the Holy Grail was among the hits: some giggling fits are too giddy not to catch on. Watching it a second time, on my own, I probably caught a good deal more of the jokes that were drowned out in my childhood, while others that I did remember – notably the famous running debate about the airspeed of a laden swallow – were more dementedly extended and involved than I might have guessed. The real surprise of this return visit, however, was the remarkable strike rate of the gags. I had expected a scattershot affair of lunatic highs and groan-worthy lows, as tends to be the pattern of sketch comedy, but the film's antic wit is sustained better than its knowingly slipshod narrative and flashes of avant-garde style might suggest. Formally and structurally, the film may have been a chaotically experimental venture for much of the Python team – not least first-time feature directors Terry Gilliam and Terry Jones – but minute-to-minute jokes? No uncertainty there. It could all have gone terribly wrong, of course. By 1973, when Monty Python and the Holy Grail was conceived, the team's BBC show Monty Python's Flying Circus was three series in and well on its way to a curious kind of status somewhere between cult and national treasure. It was popular enough to have already prompted a 1971 film spinoff that was little more than a greatest-hits compilation. Recreating numerous sketches from the show and stringing them together in an attempt to engage the elusive American market, And Now for Something Completely Different was something of a redundant curio – funny, certainly, but hardly cinematic. If the group were to have a big-screen career, they had to think beyond the short-form work they had already mastered. They had to tell a story. Sort of. Arthurian legend had enjoyed a pop culture revival ripe for spoofing: the chintzy Broadway tunes of Lerner and Loewe's Camelot were still ringing in audiences' ears by the early 70s, while TH White's popular tetralogy The Once and Future King had been given the Disney treatment in The Sword in the Stone a decade prior. Reimagining King Arthur – played with wonderfully queer bluster and defensiveness by the late Graham Chapman – and his Knights of the Round Table as an alternately brutal and ineffectual band of dolts, Gilliam and Jones's film dismantled the macho romanticism of the Matter of Britain in one fell swoop, with a simple running gag that also handily got around the lack of animal-wrangling budget: no horses and just a limp-wristed, lolloping gait and two clopping coconut halves to underline their absence. What is a knight without a steed? About as powerful as a king without a court, both of which apply to poor, hamstrung Arthur here, as he trudges vainly across England in search of who-knows-exactly-what, earning only the contempt of his sceptical, mud-stained subjects ('Just because some watery tart threw a sword at you,' one mutters) and mysteriously invading French adversaries along the way. It's a healthily republican rejoinder to reams of awed Arthurian lore, sneaking some startlingly pithy class commentary in amid the loopy japing. 'I didn't vote for you,' says one unimpressed countryman to our horseless hero. 'You don't vote for kings,' Arthur counters, as if that answer raises no further questions. But if sentimental historical myth-making comes in for a skewering here, so does the drab, earthy severity of the folk-horror wave in 1970s British cinema: extremities of violence and eroticism are here rendered ridiculous, even benign. Gilliam and Jones's film may be a wilfully shaggy affair, delighting in its absurd logical leaps and blunt narrative dead ends, but it's consistent in its undermining of rigid British storytelling traditions – not just with the gleefully vulgar anachronisms of the Carry On films, but with its own kind of gonzo political integrity. Half a century on, the film is palpably a product of its era – visible in its own stylings and those of the contemporary works it responds to – but the Python sensibility remains so strangely, dizzily sui generis that it can't really date all that much either. The team had more ambitious, polished films in their future: Life of Brian still carries an exhilaratingly subversive punch, while The Meaning of Life returned to the fragmented sketch format with a greater sense of perverse philosophical inquiry. Gilliam's own flair for baroque lunacy, meanwhile, would reach artsier highs and grisly lows in his ensuing directorial career. But Monty Python and the Holy Grail remains a pure comic peak for him and the collective alike: a film made to be recited by heart, hilarious even as second-hand evocation, and still possessed of pleasures and surprises that generations of cultists haven't yet spoiled.
Yahoo
07-03-2025
- Entertainment
- Yahoo
Gene Hackman and Wife's Causes of Death Revealed
The post Gene Hackman and Wife's Causes of Death Revealed appeared first on Consequence. Authorities have revealed the causes of death of Gene Hackman and his wife, Betsy Arakawa. Hackman died from 'hypertensive and atherosclerotic cardiovascular disease, with Alzheimer's disease as a significant contributory factor,' said Dr. Heather Jarrell, chief medical investigator for New Mexico's Office of the Medical Investigator. Meanwhile, Arakawa died from hantavirus pulmonary syndrome, a rare disease carried by rodents, which is described by the Centers for Disease Control and Prevention as initially causing 'flu-like symptoms that can progress to more severe illness where people have trouble breathing.' It's estimated the couple died around one week apart, with Hackman passing around February 18th following his wife's death on February 11th. Investigators have said it's possible Hackman did not know his wife had died due to the Alzheimer's disease. Hackman and Arakawa, along with one of their dogs, were found dead on February 26th at their home in Santa Fe, New Mexico. The following day, investigators said their deaths were 'suspicious' after finding 'no obvious signs of a gas leak' and the front door of their home 'unsecured and opened.' According to the search warrant, Hackman's body was found in the mud room, while Arakawa was found in the bathroom with a space heater near her head. The deceased dog was located in the bathroom closet, roughly 10 to 15 feet from Arakawa's body. Gene Hackman and Wife's Causes of Death Revealed Eddie Fu Popular Posts Jon Stewart Calls Out Elon Musk for Flaking on The Daily Show Interview Faster Pussycat Singer's Fiancée Dies After Falling Overboard on '80s Cruise That Band Was Playing Dead Kennedys Legend Jello Biafra Joins Cavalera Onstage for "Nazi Trumps F**k Off": Watch Monty Python and the Holy Grail Returning to Theaters for 50th Anniversary Mike Myers Debuts Elon Musk Impersonation in SNL Cold Open: Watch Queens of the Stone Age Announce US Tour Dates with The Kills Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
Yahoo
06-03-2025
- Entertainment
- Yahoo
Monty Python and the Holy Grail Returning to Theaters for 50th Anniversary
The post Monty Python and the Holy Grail Returning to Theaters for 50th Anniversary appeared first on Consequence. Mount your fake steed and get your coconuts clapping, Monty Python and the Holy Grail is returning to theaters to celebrate its 50th anniversary. The screenings of the cult classic comedy film will once again be screened at select theaters nationwide on Sunday, May 4th and Wednesday, May 7th. Presented by Shout! Studios and Fathom Entertainment, tickets for the showings go on sale starting Friday, April 4th at and participating box offices. Get Monty Python's Spamalot Tickets Here The 2020s have seen their fair share of Monty Python and the Holy Grail fun. In typical silly fashion, the flick returned to theaters in 2023 to celebrate its 48 1/2-year anniversary. That same year, the musical adaptation, Monty Python's Spamalot, returned to Broadway for the first time in 14 years. That production is currently set to tour in 2026; get tickets here. Believe it or not, a scene from Monty Python and the Holy Grail also recently landed on our list of the 69 Sexiest Film Scenes of All Time. See for yourself here. Monty Python and the Holy Grail Returning to Theaters for 50th Anniversary Jonah Krueger Popular Posts Jon Stewart Calls Out Elon Musk for Flaking on The Daily Show Interview Faster Pussycat Singer's Fiancée Dies After Falling Overboard on '80s Cruise That Band Was Playing Mike Myers Debuts Elon Musk Impersonation in SNL Cold Open: Watch Queens of the Stone Age Announce US Tour Dates with The Kills Neil Young to Play Free Concert in Ukraine Skype, Once-Beloved Video Calling and Messaging App, Dead at 22 Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
