If you don’t see thumbnails below, this link should work.

Virginie Efira in “en attendant Bojangles”:

Here is that full scene

Zoé Felix in “celles qui restent”:

Céleste Brunnnquell in “celles qui restent”:

Alma Jodorowsky in “Harmony”:

Anne Azoulay in “les 7 vies de Léa”: Netflix’s French productions are disappointing

Camille Douchez in “les 7 vies de Léa”:


French version, with commentary

Charlie’s archives: 1000s of collages, 100% content



Who could that quote be from?

Well, whoever has done the most for religion, step forward.

Not so fast, Jesus of Nazareth, Saul of Tarsus, Abraham, Mohammad, Joseph Smith, Gautama Siddhartha, the Dalai Lama, America’s founding fathers, Cool Pope Frank, and all of you other pretenders.

There’s a new holy man in town!

This is a made-for-Netflix series about Clark Olofsson, the controversial Scandinavian criminal who inspired the term “Stockholm syndrome.”

You may be familiar with that Chuck Barris biopic, “Confessions of a Dangerous Mind,” which combined what was really known about Barris with his own fanciful tales of his secret life as an assassin. That resulted in a movie that was not a comedy, and in fact often assumed quite a serious tone, but created a sense of dark-comedic absurdity by taking all of Barris’s claims at face value.

This series proceeds from a similar premise. It assumes that all of Olofsson’s claims about his life are true and proceeds from there. In this case, as opposed to the Barris film, there is a light tone and a constant wink to the audience – sometimes literally, when the lead character breaks the fourth wall. As a result, it seems less like the story of a violent lifelong gangster than a Hal Needham film about a good ol’ boy who happens to be Swedish.

There was some brief, weird nudity in episode one, but I’ll get back to that later.

Let’s begin with episode two, which featured

Sophie Apollonia

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and Hanna Bjorn

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Episode three contains two scenes with Agnes Lindstrom

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And episode five brings back Hanna Bjorn for a second spirited session of sport-humpin’, and this one could be a candidate for our year-end list.

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Finally getting back to that scene in episode one – I don’t know what to make of it. CGI vag? Beats me. The actress is Sandra Ilar.

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This is a new HBO mini-series which takes “true crime” drama into a second derivative. It’s not really about the Kathleen Peterson murder, but rather about the making of the documentary that was made about the case, although such an approach also requires it to tell its version of the fatal incident, the investigation, and the murder trial.

Next year, we will probably see a documentary about the making of this drama about the making of the documentary about the case.

And so on.

I have HBO Max, so I tried to get into it with the best of intentions, but could not. I got halfway through episode one, got bored and gave up, but I did make clips of the nudity in the first three episodes. (Well, episodes one and three. Episode two has nothing.)

Toni Collette’s body was autopsied in episode one. You know how that goes. At the moment, there’s no way for me to say exactly how much of Toni appears in these images. Is it Toni covered with prosthetics? Is it a lifeless object molded from her body? I guess we will have to wait for the special features of the documentary about the making of this drama about the making of the documentary about … something. I forget what exactly.

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Toni has two brief scenes in episode three:

She is getting a massage and turns over, briefly exposing her breasts.

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Colin Firth eats her ass.

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