Bikini Summer (1991)

Directed by Robert Veze
Starring Melinda Armstrong, David Millbern, Kelli Konop
Rated R
USA

“Chester and his friends seem like fine, responsible young adults.”

Bikini Summer is not a film of many surprises. In fact, the most surprising thing about Bikini Summer is the fact that it took until 1991 for someone to make a film called Bikini Summer. Bikini Summer is about as generic a beach sex comedy as you could possibly make – and with all the fluoro bikinis and bleached blonde hair going around in 1991, you could make a very generic beach sex comedy indeed.

That’s not necessarily a bad thing, mind you. Not every film needs to be filled with intratextual meta-referencing. Really, given the complete hash of that sort of thing most films tend to make, it might be better if very fewer films even attempted it. Luckily, Bikini Summer is so straight-forward that you could probably lay out the plot right now without even having to be told what it is.

It’s about bikinis. In summer.

It does, in its favour, look particularly good. That’s very likely less to do with one-time writer and director Robert Veze than it is to do with cinematographer Ken Blakey. The film was his first full-length feature after leaving the world of fashion and glamour photography, and it shows. Girls in bikinis are filmed in unbelievable, graphic close-up, with stringently careful lighting. If there was a blu-ray version, it’d blow your fucking mind, man.

Later on, things get a little less careful and more gloomily lit, as if the producers were running out of money and time. “Fuck the lighting and get this thing in the can, Blakey! We gotta ship this VHS out to video shops tomorrow!”

Anyway, there’s plenty of movie before the gloom sets in. The credit sequence alone features more jiggling and jogging bikini clad girls than some lesser sex comedies.

Sadly, it’s all a dream. Absurdly blue-eyed, good natured slacker Chet (David Millbern, Slumber Party Massacre) has been asleep, and wakes to this:

Old Mr Patterson, whose beach front property Chet and his friends are house-sitting and repainting over the summer, is going through the virtues of horizontal brush strokes versus vertical brushstrokes when using oil based paints. His wife, by the way, is played by Katherine Victor (RIP), star of The Wild World of Batwoman.

Chet rushes them out the door – and throws their bags after them. While they’re packing the car, Mrs Patterson says something you should really never say in a sex comedy: “Chester and his friends seem like fine, responsible young adults.” It’s like the antics and mayhem equivalent of saying Candyman into the mirror.

Back inside, Chet has lost his camera, which proves a convenient chance to introduce the rest of the characters. There’s annoying preachy environmentalist Richie (Alex Smith), rock and roll chick Jazz (Shelley Michelle), bikini designer Renee (Kelli Konop), blonde hottie Cheryl (Melinda Armstrong) and, last but not least, burping but otherwise silent fat party dude Mad Dog (Kent Lipham, RIP).

Even at this early point, you can already safely assume that Renee will end up making out with Chet and also wear a bikini by the end of the film, because she’s blonde and wears glasses.

Chet and his camera head for the beach, and so do Richie and Cheryl, though they all do so separately; it’s a segmented kinda film like that. Richie annoys innocent people by preaching about the dangers of UV rays and – bizarrely, given his environmental stance – handing out fliers to everyone he sees. Chet meets some girls and convinces them to pose for him, but forgets to take the lens cap off.

Cheryl meets a muscly guy with white shorts and a mullet named Brad. “Hi. I’m Brad,” he says gruffly. He asks her out to a party later on, and she accepts.

Also on the beach are requisite sex comedy nerds Larry (Thom DeLorenzo) and Gary (Tommy Heisler). Larry has, hands down, the funniest lines in the entire film, and says all of them in this single clip. Then he remains woefully underused for the next hour.

Incidentally, the girl they’re checking out is porn star Missy Warner, who had a similar beach related cameo in Bikini Car Wash Company.

Meanwhile, Jazz has just found a new rehearsal room for her all girl hard rock band, Jailbait. They’re renting a room in a warehouse from a sleazy landlord named Max (Ken Davitian), who looks very much like two Dom DeLuises jammed into an office chair.

Chet finds some more girls to photograph, and while he manages to run out of film, things do take a turn for the saucy. “Listen,” one of them says, “this is okay and everything, but if we could go back to your studio, we could do some really sexy stuff.”

He immediately heads out and buys $200 worth of studio equipment in anticipation of the girls coming over the next morning.

Richie continues to find more people to annoy. First he scares off poor Missy Warner by jabbering on about bacteria in sand. Then he finds two more girls to annoy, but it turns out they’re smarter than him.

They anticipate everything he’s got to say on numerous topics, including rainforests, dolphins, UV rays and native Americans. He gets bored of being made to look stupid, so he wanders off and manages to find a protest. Seems like someone is planning on building condominiums or something.

There’s only six people there and no one around to watch, but Richie joins in with enthusiasm anyway. However, it’s not long before the cops arrive to break things up, along with the local assistant DA, Rachel Greene (Rebekah Alfred). You can safely assume that she’ll also end up in a bikini by the end of the film because she wears glasses and is played by someone who spells Rebecca with a ‘k’ and an ‘h’.

Richie’s all for hanging around, but protest organiser and white bearded hippy Moondog (Michael Silverback) isn’t having a bar of it. “Listen,” he says. “I spent half the ‘60s in the slammer. I missed Woodstock. I missed Monterey. I don’t plan on missing the ‘90s.”

Sadly Richie can’t take a hint and ends up getting himself arrested. Renee bails him out and tells him that she can’t afford to do it again, but he just keeps mumbling about having to save the beach.

If Moondog knew the kind of music he was going to have to put up with for the rest of the decade, he probably wouldn’t have been so worried. As if to make that exact point, Jailbait’s rehearsal continues and Jazz sings a song with some of the most wretched lyrics outside of my high school notebooks: “Justice is blind, and you got cash/If you don’t, your head they’ll bash/Mr Bush does not tax the rich/Isn’t that sort of a bitch?”

Having perfected that number, one by one they celebrate with an after rehearsal shower. Max has a peephole installed in his office for just that sort of occasion, and we get to sit through each of them in there while he cackles away.

They eventually find out and go and confront him and then go home or something.

Meanwhile, Cheryl is at the party, but can’t find Brad. Turns out he’s up in one of the bedrooms banging some other girl. “C’mon Cheryl, be cool,” he says. “Cheryl, don’t be a downer.”

She doesn’t seem to think that’s a reasonable request, so she goes and gets hammered. Next morning, she wakes up on a deck chair by the pool, then strips off and goes for a swim.

Then we get five minutes of slow motion, fully naked splashing around. It’s pretty spectacular.

After she gets out, she finds out that she’s been watched the whole time by a piano playing guy named Bert Harden (Carmen Santa Maria) who appears to have stolen Bobby Dall from Poison’s hair.

He tries to explain that he was inspired by her nudity to finally finish the song he was writing, but she’s not into it and storms out.

Chet’s having more luck. The girls arrive for the photo session, only to find that they don’t have anything proper to wear. So Chet borrows two of Renee’s designs.

This turns out to be such an inspiringly good idea he becomes a silhouette.

Also a fancy backdrop and a water feature appear.

Or maybe that bit is a dream. Who knows. Anyway, when he next speaks to Renee (in the totally dark lounge room with everyone else) she’s despondent because she thinks her bikinis have been stolen. Nope – Chet’s sold them to the girls for double the price.

This leads him to come up with an idea: they should hold a bikini contest. Renee could sell her designs to the entrants, and Chet could take pictures! And they could use the money to save the beach! And Jazz’s shitty band could play! And Cheryl could wear a bikini! And Mad Dog could drink beer!

So they do just that.

Richie invites Missy Warner and the smart girls who made him look bad.

And Cheryl takes an invite to Bert’s, while wearing a sling bikini.

Then it’s time for the contest! Sadly, it’s the kind of gloomily lit part of the film, but nonetheless. Even Missy Warner enters, although she complains to Renee about her bikini in the dressing room. “There just seems to be so much fabric...”

Unfortunately, they’ve barely finished going through the contestants when the assistant DA and the cops show up, along with sleazy landlord and apparent condo developer Max. Renee defends her bikinis to the DA in an admirably eloquent fashion.

But will they get to continue the party? Will Renee end up wearing a bikini and making out with Chet? Will the DA wear a bikini? And hey wait, weren’t they meant to be painting a house or something?

Predictably, the answer to all four questions is yes, but the manner in which it all comes together is brilliantly and insanely coincidental, and provides the movie’s few surprises. It’s generic, segmented and silly, but Bikini Summer is still a lot of fun. It’s far from the best beach sex comedy, but it’s a long way from the worst too.

- Alistair Wallis

Wild Malibu Weekend (1995)

Directed by Kelly Gordon
Starring Barbara Ann Moore, Anastasia Rova, Avrey Masters
Rated R
USA

“So, do any of you girls like to sleep with big time TV game show hosts?”

There’s something a bit special about ‘90s sex comedies. Yeah, the decade was pretty much uniformly awful, but there’s a certain flair to the sex comedies produced then that’s really quite distinctive. They lack the innocence of ‘70s and ‘80s sex comedies, but make up for it with a certain kind of batshit charm: fluorescent bikinis, ridiculous hair, and some of the all time stupidest fake breasts ever. Repulsive and irresistible all at once. There’s plenty of all those things in Wild Malibu Weekend, you’ll be pleased to hear. The film was produced and its story written by Jason Williams, of Flesh Gordon and Cheerleaders Wild Weekend fame. It was then scripted by Gregory Poirier, who then went on to write Lion King 2 and National Treasure 2. So that’s kinda weird.

Also, I’m fairly certain the director, Kelly Gordon, doesn’t exist, as he/she has no other credits whatsoever. I’m almost equally sure that Williams directed it, given the surname Gordon, and the fact that he plays a director within the film itself. Maybe someone out there knows for sure.

Williams even opens the film, with a lengthy, William Castle/Reefer Madness style warning: “Bikinimania,” he warns us, “is real.”

During the title sequence, flyers are handed out to girls on beaches, presumably all over the United States. And the world. Or whatever. We only see one, but it’s strongly suggested that there’s numerous girls receiving them and entering, to be then whittled down to a field of just 10 for the actual TV show.


Once that’s over, we’re introduced to a few of those in the group. First up is Susan Mikka (Anastasia Rova, in her only film role). She’s a struggling actress, who has accepted a part in a play the wardrobe manager describes as “a musical comedy with deep social significance and commentary on the state of our society today”.

Mostly though, it just means the girls wear fake plastic breasts and underwear with fake pink pubic hair, then dance around on stage. Profound.


Next, we meet the first of the contestants actually on their way to the contest. There’s country girl Mary Johnson (Playboy Playmate Barbara Ann Moore, who goes to bizarre lengths not to show her boobs once in the entire film) and silicon-boobed Kelly Johnson (Kathy Pasmore) – no relation. After a short limo drive, they end up at the mansion all the girls are staying at, where the butler meets them at the front door. “Wow,” chirps Mary, “this place is keen!”


Unfortunately, the contest organisers haven’t clued in to the fact that the two aren’t related, and have put them in the same room. And the same bed. “C'mon, it'll be fun,” says Mary. “It'll be like a slumber party.”

“Keen,” sneers Kelly.

The two head up to their room, but on the way they run into Cliff Diver (David Salas Power in his only film role), a friend of the producer who’s there to act as chaperone. And also to act sleazy.


Eventually they shake him off and start talking about the competition. Not only is the prize $10,000, but there’s also a film role in it for the winner. Kelly’s reluctant to say anything more than she feels she has to win, but Mary’s quite willing to ramble on for some time about her motives.

Her grandmother wanted to be an actress, back in the ‘40s. “Now Granny's sick,” she sighs. She'll probably go home to Jesus soon.” By winning and becoming an actress, she hopes to fulfil her grandmother’s dream. Or something.

Finally, we meet the last two: Valley girls Gina Roberts (Karli Allen) and Natalie Woodman (Shauna O’Brien, aka Penthouse Pet Stevie Jean). They’re on the beach, where Gina runs an absurdly long distance with a cupped handful of water to splash on Natalie’s back.


“Ow,” says Natalie. “What are you doing?!”

Later, over lunch out on the balcony of the mansion, Cliff explains to a couple of the girls that he might be able to help them out with the contest. That is, if they’re willing to help him out later that night in his bedroom. Gina’s not real into the idea, but Kelly’s desperate enough to win that she’s entertaining the idea. And gives him a sexy look.


Meanwhile, Susan gets a call from her agent, who tells her about the contest. She’s unsure until she hears about the film role. I guess for some reason she gets to avoid the selection stage all the other girls have gone through. Or something.

Anyway, they all turn up at the studio, and end up in makeup with the show’s host, Marvelous Marv Thomas (Avrey Masters, in his only film role). “So,” he asks casually, “do any of you girls like to sleep with big time TV game show hosts?”

No response. The director of the show, Jeff Watts (as mentioned, Jason Williams) comes into the room. “This little sand crab trying to get you into bed?” he asks.


Then, everyone moves out to the stage, and it’s time to start ‘Bikini Showdown’!


Turns out, according to the credits, that’s not even The Ultramatics playing that song – it’s The Jeff Juliano Project. We hear a couple of Ultramatics originals later, and they sound exactly like you’d expect. In fact, turns out the singer is still going with totally bland rockabilly to this day.

Anyway, it’s time to meet the rest of the contestants. The ones we’ve already met are lined up first, which probably gives you an idea of exactly who’s going to do well, but never mind.

There’s also Tommie (Thomasina C. Ciela), non-English speaking Venezuelan Rosa (Claudia Taz), Dani (Dani Shore), token Swede Gunilla (Gunilla Dahlgren) and Joanie (Nikki Swanson). And out of all of them, only Dani ever had another film role. Beginning to notice a pattern here?


Also, Marv continues with his terrible lines and wheezy laughter too. It’s pretty grating after, oh, about a minute. Time for the first round, though: a game called shakedown. Each girl has numerous poker chips pressed onto her body, and then has to shake them off.


It’s not really clear who wins, but it’s probably not important so they just get on with the next game: musical chairs.


At one point Rosa scrambles for a chair and lands on Kelly’s lap. It’s pretty clear the scripting in this section is somewhat limited, because she falls off awkwardly.


Yikes. Anyway, Mary wins and it’s time for a song by The Ultramatics. Actually by The Ultramatics this time, too. Gina, Tommie and Natalie get up and dance with them.


Then it’s back to the games. This time they play “romp ‘n’ stomp”, in which the girls have a balloon attached to each foot, and have to attempt to burst the other girls’ balloons.


Natalie wins that one, and then it’s time for the final game of the episode: a limbo contest.

Natalie wins that one too, and Marv asks Mary why she didn’t do so well. “Well, gee willickers Marv, I don't know what happened,” she says. “I practised a lot with the hitching post back at the farm.”

So that’s the first round, and you can probably guess who doesn’t make it through to the final. Yeah, the girls last in the line who weren’t featured in the actual story.


The finalists go back to their dressing room (complete with Flesh Gordon poster) and talk about what they’ll spend their prize money on if they win. Well, all except for Kelly, who still won’t answer. “Who cares? It's none of your business anyway,” she says, and storms out.

Back at the mansion, Susan is busted practicing awards speeches by mansion owner and show producer Griffin Godfrey (Alan Roman in his only role ever). He takes a bit of a shine to her, and kind of maybe propositions her, but she shuts him down immediately, telling him she only wants roles for her talent.

Then there’s a party. The Ultramatics play some songs, and Natalie and Kelly discuss who they’d sleep with. “That's easy girlfriend,” Kelly explains. “You start with the lead singer, and you end with the drummer.” That’s true and also a good lesson.

Toward the end of the party, Kelly ends up back in Cliff’s room. “I'm really glad I could help you out like this,” he says. “Now I'm gonna give you something you'll never forget.” Then he climbs on top of her and pumps away for five seconds or so.


Kelly asks him what the events are for the next day so she can get an advantage. “They pick 'em from a hat,” he shrugs.

She storms out and heads back to her room, where Mary is. Finally, she explains why she needs the money. “My dad gambles. He owes some pretty serious people, and if I don't come up with the money, they're gonna hurt him real bad.”


Next day, they all head to the studio for the final rounds of the game show. Before Susan can head out though, Griffin shows up again and says he was impressed by her the day before. Then he grins in a really disconcerting manner.


There’s some more events, including put the condom on a cucumber.


And twister.


And spray each other with water pistols while wearing whipped cream.


Who wins? Well, you’ll have to see it yourself.

Suffice to say, it doesn’t really matter. Hell, let’s be honest, none of the plot really matters. The important part is, it’s movie about a completely insane boob and bikini filled game show, with laughs and a terrible host and a rockabilly band and cute girls.

If it was on TV, you’d watch it every single week. It’s not and probably never will be, so it’s just as well someone made a movie about it.

- Alistair Wallis

Fraternity Vacation (1985)

Directed by James Frawley
Starring Stephen Geoffreys, Sheree J. Wilson, Tim Robbins, Amanda Bearse
Rated R
U.S.A.

“Astronomy major Wendell Tvedt has studied galaxies, charted planets and pondered the universe. But in Palm Springs, he’ll encounter his first full moon.”

Get it? Full moon? Yeah, I get it, too. As it turns out, the tagline to Fraternity Vacation, a tame-but-tolerable entry into the teen sex comedy category, is fairly indicative of the general level of grins contained within.

It was right smack in the middle of the 1980’s when New World Pictures launched this modest attempt to lure some of the same crowd who’d made Fast Times at Ridgemont High, Risky Business, and Revenge of the Nerds such huge hits. Of course, anyone who remembers the decade wouldn’t need to be told when this one was made, as the clothes, hair, and nonstop-MTV-vibe peg it as such well before the first Bananarama-backed montage.

The story mostly follows the familiar coming-of-age-gotta-get-the-virgin-laid trajectory found in many such films, perhaps borrowing a little more from Revenge of the Nerds than most thanks to its promotion of nebbish Wendell Tvedt as hero, played by Stephen Geoffreys (Fright Night, 976-EVIL).
















As is explained by a brief opening sequence, Wendell is pledging the Theta Pi Sigma fraternity at Iowa State University. Frigid, snowy weather means he and two of the frat brothers -- Joe Gillespie (Cameron Dye) and Larry “Mother” Tucker (Tim Robbins) -- are especially looking forward to an Easter break trip to Palm Springs. Joe and Larry probably wouldn’t be vacationing with Wendell -- a self-described “late bloomer” -- if not for the fact that it is his cousin’s condo to which they’re traveling and Wendell’s parents have paid for the trip.

Just before they leave, Wendell’s dad takes Joe and Larry aside and asks them if they could teach Wendell “a few of the tricks of the trade... with the opposite s-e-x.” Mr. Tvedt, whom we later learn is a wealthy pig farmer, tells the pair he’ll make it worth their while should they agree to provide such tutelage by putting a new sauna and jacuzzi in their frat house.

Incidentally, in a non-subtle, wannabe-arty-kind-of-flourish, this opening sequence at Iowa State is shot in black-and-white, necessarily making Palm Springs seem all the more colorful once the trio arrives. However, all is not so rosy, as it is immediately clear once they arrive Wendell might cramp Joe and Larry’s style.















So what do our fun-loving frat boys and their pledge do upon arrival? Shop for clothes, of course!

Huh? That’s right. It’s our first montage sequence. And first Bananarama song (of several on the soundtrack.)

Also in Palm Springs are other Iowa State students, including J.C. (Matt McCoy) and Chas (Leigh McCloskey) from the rival Beta Espilon house. “Betas hate Thetas,” we’re told. “It’s a tradition.” When they spot Larry, Joe, and Wendell, seeds of an impending conflict are quickly sewn.

The guys arrive at the weirdly-furnished condo -- no furniture in the living room, a decked-out master bedroom with a mirrored ceiling, and a kids’ room with bunk beds. Kind of contrived, but we can see that this arrangement will dictate only one resident is going to be able to entertain female company at a time.

After spending a few moments using Wendell’s telescope to leer at some of the bikini-clad babes at the pool, as well as one blonde in particular at a neighboring balcony...















...the guys head down to start their vacation in earnest.

Joe and Larry immediately hook up with a couple of comely co-eds -- Marianne and Chrissie -- whom we recognize as having earlier been riding with the Betas. They bring the girls upstairs, and when the bedroom situation is explained, the girls seem even more ready and willing than the guys initially suspected.

“I’ve always found that four people on a queen-sized bed can be very cozy,” says Marianne. “Marianne and I are best friends... we do everything together” says Chrissie. They all quickly head into the bedroom, and the two strip while the guys watch.















Too good to be true, right? Right. Before anything can happen, some talk of herpes from the girls frighten Joe and Larry, and soon the Betas appear to celebrate this uncertain little “trick” they’ve pulled. Some macho talk follows, and before long the four make a $1,000 bet to see who among them can be the first to succeed in seducing a mutually-selected girl.

The beauty on the balcony is chosen, and the game begins. As the first act fades out, Wendell goofily grins at the mysterious blonde swimming by, perhaps suggesting another possible outcome to the contest.

That night they head to a nightclub, where Madman Mac (Charles Rocket) is the DJ. Madman Mac plays more Bananarama, wears underwear on the outside of his jeans, and says things like “Where’s the beef?” Rocket wasn’t exactly soaring high, career-wise, at this moment, it seems.

Joe and Larry give Wendell some instructions on meeting women, telling him to consider “mediocre-looking” women as more realistic targets. “Obviously what you’re after here is a night of passion,” says Joe. “Or at least a blow job in the parking lot,” adds Larry.

Wendell approaches Nicole Ferret, played by Amanda Bearse who also co-starred with Geoffreys in Fright Night before becoming best known for her role as Marcy on Married with Children. Wendell really is hopeless, and when his first few lines fail, he bumbles into actually requesting that parking lot blow-job. Improbably, the line works -- sort of -- at least well enough for Nicole to invite Wendell to leave the club for some ice cream.
















A problem here early on is that we really barely know Wendell at all and so are only vaguely curious about what happens to him -- never mind care much what does. Perhaps that montage sequence might have been better filled with a bit more introduction of the main character to get us a little more invested.

Later on Joe and Larry return to the condo and are stunned to hear Wendell and Nicole in the master bedroom. They assume he’s managed to score in Palm Springs before either of them has, although in reality Wendell and his date are having strictly PG-rated fun, highlighted by Wendell singing Wayne Newton songs to Nicole.
















The Betas-Thetas bet continues, with Wendell suddenly moving over into the role of advising Joe and Larry. The next half-hour is then taken up with the various schemes being employed by the frat guys to land the blonde (Sheree J. Wilson) who strangely appears in a few scenes before we ever learn her name -- Ashley.

Joe, Larry, J.C., and Chas take a sauna together, and Wendell visits before going for another date with Nicole. After he’s gone, the Betas refer to him as a “wimp.” “He’s off to pick up his girlfriend while we’re hear sweating our asses off with a bunch of guys,” his future frat brother Thetas fire back. “Think about it.”
















A contrast quickly develops between the lying, deceitful frat guys, convinced they have to make up outlandish stories to bag a babe, and innocent Wendell whose honest -- if dim-witted -- approach to the ladies seemingly proves much more successful.

The Thetas’ plan involve pretending Joe is suicidal following a break-up, the idea being to solicit Ashley’s sympathy. Meanwhile, the Betas’ Chas poses as an author of an academic study, Mind, Body, and Sex, hoping to impress Ashley with his guru-like wisdom and workout techniques.

Another montage sequence follows, this one mostly involving Ashley working out to a Madonna-like song, “Physical Attraction.” Chas -- the Beta brother hoping to win the bet with Ashley -- comes along and we get to witness a rare instance of seduction by pommel horse.















As we move into the final third of the film, Wendell gets into a jam after a colossal misunderstanding lands him in jail for attempted rape. Adding to the fun, the police chief is Nicole’s father, played by Dean Wormer himself, John Vernon. The Chief doesn't like the college kids who invade Palm Springs every spring. And he especially hates boys who try to get anywhere with his daughter. All of which means he has more than double-secret probation in mind for a delinquent like Wendell.
















A series of plot twists ensue, some more believable than others, and a resolution of sorts is finally reached. Along the way, we do get to see more of pretty Ashley (sort of, with stunt boobs provided by a fairly obvious body double). There are more poolside antics. A car gets wrecked. Madman Mac returns to spin more synth-driven tunes. John Vernon’s character gets called “Chief Buttface” a few times. And there’s still another musical montage involving Ashley moodily driving a car to a Cars’ “Drive” sound-alike.

The cast might make this one a curiosity to some, with the obviously-talented Robbins doing his best and the others managing their roles as well as could be expected. And like his character in the film, Stephen Geoffreys is an actor who possesses a kind of underdog-like charm which has garnered him a small cult following. No shortage of talent among the actors here, really, whom one might say the script ultimately lets down a bit.

Not to be overly judgmental of a film clearly more interested in conveying entertainment than edification, but the general lack of character development does get in the way of things some toward the conclusion, making it unclear at times what exactly is motivating some of them by story’s end.

All could be forgiven more quickly if the jokes landed more frequently, but it too often seems like watching people yelling “party” and slamming beers is thought to be enough to entertain us.

Or full moons... hahahahaha...















- Triple S