All Voices reported that the film focuses on the relationship of the “unconventional Boston cop” (McCarthy) and the “high strung FBI agent” (Bullock).

We all know that these two women are funny by themselves, so there is no doubt that together they will be unstoppable!  With McCarthy’s crazy antics in Bridesmaids and Bullock’s comedic awkwardness in her Miss Congeniality films, this will be a total breeze for the hilarious duo.

“No word yet on when the film is supposed to be released but, whenever it is, it will surely be our favorite of that month or year or lifetime,” Split Sider reported.

All Voices said that not only is the film untitled, but the script has yet to be completed.  Although the script is not finished, the project is predicted to be epic with all the talent involved.

As of now, the world has time to brace themselves for the comedic damage that Bullock and McCarthy are sure to dish out! Who’s excited? Leave your comments below!

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Top Five Comedy Films to Watch This Summer

Job Description

Two days a week, for a couple hours each night, you will be responsible for editing comedy news posts, album reviews, interviews, feature stories or anything else our crazy writers come up with. Making a story fit for online publication requires lots of anchorlinking, finding the right pictures and video and filling out our Search Engine Optimization pack. Editing for our website is primarily done at night, and west coast are applicants preferred.

When you’re done editing the stories, you’ll need to hit up our various social media accounts, as well as your own, and get them out to the public. If you understand the best practices for use of social media, then you have what we’re looking for!

Training

Like any job, the more skills and experience you have the better. But don’t think that you need to know everything before coming on board. Already we have trained a few individuals to handle the editing duties for our website, and we’re happy to help fill the gaps in your resume so that you can excel at this position, as well as learn new job skills that will assist you in the future.

Qualifications

For the prized opportunity of becoming an AmericasComedy.Com editor, you’ll need to have some editing experience in your background. While that is the only requirement, here are skills and knowledge we consider a huge plus: understanding of WordPress, SEO, anchorlinking, social media and fan engagement, embedding videos, pictures, the most important news values and the ability to create catchy titles and excerpts. If you feel that you can do any of those tasks or think you are the perfect candidate to learn them, then you’re an editor we’d love to have apply for this position!

Interested?

People who have a background in editing, communications or journalism and love comedy are welcome to send in a cover letter and resume to CortTafoya@AmericasComedy.com. Please include any experience you have using social media. The deadline to submit an application is June 17.

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When you look at the early days of comedy, you run into so many names that got their start in vaudeville.  Abbott and Costello. Jack Benny. Milton Berle. The Marx Brothers. All the greats.

Then came the rise of broadcast radio. Then came the Great Depression. Then came talking pictures. And vaudeville soon went away.

Many of the comics that made their livelihood in vaudeville had a tough time. Some went on the road. Some found a home on radio. And many went upstate to work in the Catskill Mountains, The Borscht Belt.

The “Catskills,” about 100 miles north of New York City, and nestled in the area of the same name, were made up by a group of resorts that were made popular by Jewish vacationers, mostly from New York, New Jersey and New England.  In their heyday, they were something else.

Grossingers.  Brickman’s.  Browns and Kutsher’s Hotel (the resort that inspired the film “Dirty Dancing)  each offered all-inclusive vacations with meals and a host of activities. And many of those activities included a “Who’s Who” of comedians.  Mel Brooks, Joan Rivers, Don Rickles, Lenny Bruce; all got their start playing these resorts.

You had to be good to play them more than once. It was a very picky audience. They were there to eat, to sun…and to laugh. And you had to be funny or you were wouldn’t last a season.

Jan Murray was no exception.  Born in the Bronx as Murray Janofsky, he loved comedy and began during childhood, acting out comedy routines he’d seen at the local theatre for his bedridden mother. He was good at it.

At 18, he headed up to the Catskills and honed his craft. He was well-liked and was placed as a “Tummler,” a kind of social director with a sense of humor.  He was a huge hit. Like many of the greats, he was considered a comic’s comic. Many of the bigger names would end their shows and go over to where he was playing to catch his sets.  He worked that circuit for 15 years.

In the late 40’s, Vegas beckoned. By this time he’d earned a reputation as a “marquee” performer and took that reputation to Nevada, playing the biggest hotels that were reserved for the biggest stars. Sinatra loved him. Dean Martin loved him. Sammy Davis Jr. loved him. And through Ed Sullivan and the Tonight Show, much of America loved him.

He saw that the real money was in television and he soon made his way out to L.A., where he started a new chapter in his career as a game show host, the first established comedian to do so.  Starting in the mid-50s, he hosted Blind Date, Dollar a Second, Treasure Hunt, The Jan Murray Show and Chain Letter and gained a huge audience. Later, he was a regular on The Hollywood Squares and even made a few forays into film. But stand-up remained his first love and he did it until he retired in 2000 at age 83.  He passed away six years later.

His was a story that’s been told many times, about the beginning of stand-up comedy… and one that deserves to be remembered.

Larry Dorfman is the author of “The Snark Handbook” series. Follow him on Twitter @SnarkHandBook and on Facebook here.

Animal Furnace is not what you expect from Buress. When he released his first album My Name is Hannibal a couple years ago his slow style and cadence aided to his absolutely absurdist view of the world and caused me to laugh almost to the point of shitting myself. However, after listening to his second album, I got nothing like that.

What I did get was a more precisely defined and surprisingly energetic hour of comedy that once again, made me shit my pants. When most comedians find their “voice” they stick with it because it works for them. However, it is obvious that not only is Hannibal able to stay consistently funny, but he’s evolving as a performer. Instead of the monotone absurdist one liners that constitute a majority of his first album (not to say that is a bad thing, it’s hilarious) Animal Furnace is completely different.

This time around Hannibal is more passionate about his material which is now much more story driven then his previous album while still maintaining a high level of absurdity. He’s evolving but still maintains a certain sense of ridiculousness while getting more serious. Hearing him rant about a woman who stole his debit card is serious and hilarious. Then wishing her kids never learn to read is absurd and hilarious. He strikes a perfect balance between the two in the albums entirety.

Hannibal doesn’t play it safe this time around. He could have absolutely stuck with his old style and still would have knocked it out of the park, but instead, he took risks. He decided to show people a completely different side of his comedic ability and talent. I highly recommend – no, actually, I DEMAND that you buy this album.

You can all thank me later.

For more of Buress’ comedy you can check him out on Tumblr here, and follow him on Twitter @HannibalBuress.

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Aziz Ansari’s ‘Dangerously Delicious’   Reggie Watts’ ‘A Live At Central Park’

Joan’s career (she is 78 and still performing) has been based around scandals like these…this should come as no shock to anyone. The recipient of the latest one? The late Whitney Houston.

In Joan’s new book, “I Hate Everyone…Starting With Me,” she makes a joke at the expense of Whitney. Michael Musto of the Village Voice posted the excerpt from Joan’s book:

“I hate Houston. It’s crawling with bugs. …Oh, wait, that’s Whitney Houston; I’m sorry, my bad. (Can I just mention that Whitney looked fabulous at the Grammys? She was in mahogany from head to toe.)”

To anyone that doesn’t know, Whitney passed away unexpectedly in February and cocaine was found in her system after an autopsy. She was found dead in her hotel room the day before the Grammys, which did a last-minute tribute to the amazing, diva recording artist.

So, is the joke too soon? Should Joan have just left that part out of her book? Is it tasteless?

Joan has never been one to hold back anything she says and  caused some riffs at the SAG Awards this year when she said that Sofia Vergara is “more top heavy than an Italian cruise ship,” shortly after the Costa Concordia sank in January. She takes on recent tragedies and she turns them into jokes…this is her thing.

Time for your comments/thoughts…should Joan have left the joke in the book or taken it out? Too soon? Too far? Just Joan being Joan and doing what has made her a successful comic for many years? Leave some comments!

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Charlize Theron Returning to Arrested Development? Steve Carell and Ellen Degeneres’ Charades Game Gets a Little NSFW

Further more, Deadline informed that the project is based off of an original idea by Riggle and is expected to be single camera comedy written by Adam McKay and Chris Henchy.

The show will be set in the bond trader world in the 1980s. Riggle’s character is “a successful, hard-living boss who lives a dark, self-centered, unhealthy life,” said Deadline. It is predicted to be a good fit with McKay and Ferrell, who have a relationship with HBO already, while Wahlberg brought in HBO’s hit show Entourage.

The question of whether or not Riggle can handle his own show still lingers.  Although he has had supporting roles in movies such as, Step Brothers, The Hangover, and 21 Jump Street, Riggle has yet to play a leading man. Does Riggle have what it takes to live up to the challenge?

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Speaking as a consumer, I’ve spent $20 for online, exclusive stand-up comedy specials: Ansari’s Dangerously Delicious, Gaffigan’s Mr. Universe and  C.K.’s Live at the Beacon Theater as well as his newly released Word. That’s the equivalent of one comedian’s regularly priced DVD special.

Normally I would just watch the specials on TV, choosing either to DVR them or to watch them live with commercials. So in effect I have already spent more money because of the availability.

C.K. faced an initial uncertainty due to torrenting and online piracy, saying, “I was told that it would be easier to torrent the way I made it, but I chose to do it this way anyway, because I want it to be easy for people to watch and enjoy this video in any way they want without ‘corporate’ restrictions.” A large majority of the piracy C.K. speaks of takes place in foreign countries. China, Bulgaria and Armenia rank among the worst offenders due to the fact that content is not available or restricted in those places.

Yet piracy has obviously shown no sign of destroying the model. C.K. posted a picture on Twitter when his Paypal broke $1,000,000. And piracy has certainly not slowed online distribution of music or movies. Just last year Netflix surpassed BitTorrent in traffic. Think about it: when’s the last time you popped a CD into your car stereo? This is obviously a natural progression in the digital age. But can it work for all comics?

Kent Alterman, Comedy Central’s head of Original Programming and Production, has been quoted as saying that only “a very rarefied community of comedians” are likely to command an audience to recoup the costs.

What channels like Comedy Central, HBO and Showtime have done for years is provide a platform for comedians to appear on TV. Outside of appearing in five minute bits on late night TV, its the biggest way to break through for comedians. This is how they obtain a following.

C.K. claimed total production and distribution costs were roughly $250,000 of his own personal money. Obviously a comic that made his first appearance on Conan last week won’t have this kind of money. But the strategy for these lesser known comics follows a similar model where they release their material strictly online, cutting out things like video production and physical manufacturing and distribution costs of DVD’s and CDs.

Perhaps the key to understanding this shift to look at the demographics of stand-up comedy. Most consumers are male and a very large amount of them are younger, particularly in the 18-35 range. This age group lives online and has done so most of their lives.

But success does not guarantee repetition. Ansari’s special, after a two month run online, will appear on Comedy Central this Sunday and C.K.’s Live at the Beacon Theater was recently aired on FX.  In his AMA on Reddit.Com C.K. was enthusiastic about online releases but hesitant to fully commit. “As long as it stays a good idea. We’ll see. It’s been really fun to do it and learn about it. I think there’s huge potential. But potential means there might be nothing.”

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Created by Alan Kirschenbaum and Ajay Sahgal, and produced by Two and a Half Men’s Eric and Kim Tannenbaum, the show will center around two childhood friends in their twenties who relocate from their home town of Bloomington, Indiana to Los Angeles to work at Groupon.

Mintz-Plasse will star as Evan and Nicolas Braun will co-star as Rob. Together the two will play polar opposite characters; Evan a shut-in and Rob ready to explore the LA party scene with storylines following Evan attempting to get Rob out of his shell. The show will also co-star Outsourced’s Parvesh Cheena.

The already skeptical premise of a show centered on Mintz-Plasse and Braun trying to sell half-off sushi and yoga classes has many critics and bloggers talking. How is a show based off of an internet coupon site going to be entertaining, they ask.

But the actors work well together and given their already notable chemistry in the upcoming comedy feature Get a Job (which Mintz-Plasse and Braun both happen to co-star in) audiences have much to anticipate. Be sure to check out the Friend Me pilot airing on CBS this fall.

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It felt like a theft of precious sitcom seconds were being wasted on him when I just wanted J.D. and Turk to sing about their “Guy Love.” Needless to say, I didn’t like Aziz on my first impression. Then I hear he’s releasing an online special a la Louis C.K. and once again I had my bitter biases creeping up.

But lo and behold, Aziz isn’t just an actor moonlighting as a stand-up comedian.

He’s not one of these guys that relies on his own ethnic and racial background for material. You aren’t going to hear self-deprecating Pakistani jokes from Aziz, mostly because he’s Indian which quite frankly is racist of you to assume they’re the same thing.

Shot at the Warner Theater in Washington D.C., Aziz is a hip hop aficionado, his set replete with stories of R. Kelly, Jay-Z and 50 Cent. One of his great strengths are his stories that bond the audience through experience. Example: “One night I’m texting a girl, she texts me back I text her back” and after about five back and forths, “I say ‘Alright cool, so you wanna get pizza on Tuesday?’ And then I don’t hear anything!”

This may seem lacking in clever wordplay, shock value or biting sarcasm. But it’s something that has happened to every guy and drove him crazy. When you hear Aziz tell stories like this you’re right there empathizing with every petty frustration that it seems laughable how close the two of you are.

My favorite is a comedy moment that absolutely has to be unwritten. There is honestly no way Aziz could tell this without it being true. Things start merrily along with a lunch date with a friend until suddenly 50 Cent appears in his eyesight. The scene is simply this rapper and former Vitamin Water shareholder believes that his grapefruit soda should be purple. As Aziz puts it, “There are parents who aren’t there when their kids learn what a grapefruit is. I am there in rapper 50 Cent’s life.”

Other hits on this hour long special include a Canadian customs lady whose English is “barely better than Animal from the Muppets Babies,” a dramatic interpretation of R. Kelly’s newest song, and the latest updates on Aziz’s chubby cousin Harris.

Just like Louis C.K. and Jim Gaffigan, Aziz is selling his special Dangerously Delicious for $5 on his website azizansari.com. A shortened and censored version will air on Comedy Central May 20 10:00 PM ET. It’s likely a quarter of the show will be slashed for commercials.

This is what I think of Aziz’s comedy. The words, on paper are neither highly cerebral nor playactingly stupid. The stories often involve banal realities rather than outrageous adventures. It’s Aziz’s personality, the same personality I initially despised on Scrubs, that drives his stand-up. Time will tell that Aziz is not a TV actor moonlighting as a comedian. It might be the other way around.

Check out a preview of Dangerously Delicious here:

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DeGeneres will be honored by The Kennedy Center for the Performing Arts on Oct. 22 with a lineup of star performers in a tribute show that will be recorded for broadcast at a later date. None of the star performers have been announced yet.

Ellen released a statement where she said receiving the same award as past honorees Bill Cosby, Tina Fey and Will Ferrell makes her wonder, “Why didn’t I get this sooner?”

It was 15 years ago that she broke ground, when on her hit television show, Ellen, she became the first lead character in primetime television to come out as gay. This helped pave the way for many more to follow, including Will and Grace, Glee and Modern Family. DeGeneres has also been the voice of a lead character in Finding Nemo and served as a judge for one season on the hit reality show, American Idol.

Before hitting the big time, the New Orleans native got her start as an emcee at a local comedy club. She won Showtime’s Funniest Person in America in 1982 and in 1986. She’s appeared on The Tonight Show and become the first female comedian called over to Johnny Carson’s desk after her performance.

The Mark Twain prize honors people who have an impact on society as a social commentator and satirist, such as Twain did. Cappy McGarr, an executive producer for the Mark Twain Prize show and a Kennedy Center board member, said DeGeneres has a special style of observational humor in the tradition of Twain and she also makes people laugh across political lines.

“This has nothing to do with any political issue,” McGarr said. “But she’s brilliantly shined a light on society, and that’s what Mark Twain did.”

Do you think Ellen is deserving? Do you feel it is a political statement by The Kennedy Center? Tell us your thoughts in the comments.

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