70’s show analysis

That Seventies show                           


The episode of That Seventies Show “Sunday, Bloody Sunday” is a good work of art as a whole because it has substance and deeper meaning but lacks the humor that would normally be associated with the characters.  Even when evaluating this one episode, there must be some context particularly because the episode is uncharacteristic of the series.  The production does succeed in showing deeper ultimate values within a comedic framework. 

The show begins in a basketball court where six friends gather to play horse talk about girl problems.  One scene later we have the main conflicts of the episode looming.  An ill tempered grandmother is going to spend the day with the family after church while the grandson agrees to spend time with the old lady so as to deflect the unpleasantness aimed at his mother. 

The scenes move upstairs to downstairs, from the family adult world to the basement where the kids hang out and goof off.  The camera angles are standard sitcom for the most part, a range of medium shots centering on the person speaking or being spoken to.  There are times where the characters are sitting in a circle and the camera rotates around from the point of view of the food.  This is a visually stimulating way to get a quick jump from person to person without cuts.  The best material value comes from the dialogue and the acting who are at the same time very normal and very funny.

One of the most creative techniques for telling the story is when we hear the inner monologue of the characters.  Moving from one person to the next while they are sitting in church and hearing their prayers tells us a lot more than any conversation could.  The mother wishes the grandmother would go away, the grandmother asks god “whats with all the polacks”, the son asks god to do his homework and the father’s prayer to god is “would it kill you to let the packers have a winning season”.  To maintain the feel of the seventies or at least remind the viewer that it is not a contemporary show, the transitions from scene to scene are a background of hippie graphics, old music and the characters jumping around on screen.

At the end of the episode, the son is doing his term paper at one in the morning because grandma occupied him the whole day and his mother comes down to sneak a cigarette. We see the moral of the episode in this short conversation where the tension created by the family visit is finally over; the mother and son are content to be with each other and appreciate the unpleasant sacrifices each of them has made.



Medium shots

Close shots from middle of the table

Leave one by one while the camera rotates

PBS “The Donner Party”

                         The Donner Party


Structure: The structure is chronological, starting with the preparation and departure to the arrival of the survivors in California.  The documentary uses three main devices for telling the story. These are a narrator, historians, and readings of primary sources. The visual elements include old maps, photographs and shots of the wilderness.  The primary sources are mostly letters or diaries written by the members of the party.


            The main argument of the documentary is the tendency of Americans during this time of westward expansion to pursue the dream of prosperity often disregarding common sense.  Manifest destiny became a race, with many overextending themselves and taking shortcuts.  The Donner party decided to take a shortcut against the advice of others who had been there and suffered the consequences of cutting corners.


            The supporting points are generally made by historians who have written a book on the Donner party.  These are examples of how this group of immigrants made several fatal decisions during the course of the journey in their rush to California.


            The film begins with a quote from Alexis de Tocqueville with a quote that supports the main argument, that Americans chase prosperity with great intensity until death eventually halts them in their tracks.

            We start with a description of the beginning of the westward expansion which began in the 1840s.  Motivated by disease in the east and the promise of prosperity in the west, more than half a million people started along the trails to California. Among these were the Donner party who above all others retains a grisly legendary status.  This is followed by a segment supporting the main point.  Interviews clips with two historians speculate as to the motivations that lead to the party’s downfall, ambition and greed among them.

            We now turn to Lansford Hastings who will be one of the main characters in the narrative. He made the maps the that the Donner party follows, despite the fact that Hastings had never been on his own trail and was completely ignorant of the inherent dangers it contained.  He sees prosperity for himself in “aiding” the immigrants in their journeys.  There are also reactions to Hastings from historians who see him as highly driven but also very irresponsible.

            The next segment is the introduction of the Donner party.  Despite already having achieved prosperity in Illinois the Donner and Reed families decide to go west for the land rush in California.  James Reed is the originator of the trip and the description also includes that of the extravagant two story wagon of the Reed family.  This is supported by primary source quotes.  The narrator advances the story to independence, Missouri where the party resupplies and Lansford Hastings decides to see what his trail looks like.  The trail coming out of independence is very hard for the Donner party with mud, rain and the first death, Sarah Keyes.  Alternating between the narrator and primary source quotes, the party reaches the foothills of the Rocky Mountains.

            Here the Donner party gets some good advice and decides to ignore it.  Primary and secondary sources show that the party got advice from an experienced mountain man telling them not to take the route Hastings had mapped out because it would be impossible and longer than the normal wagon trails. Here we have the second sequence supporting the main argument. Historians analyze why James Reed decided not to take the advice, “He was an intelligent man, decisive. I don’t know. It’s always, I guess, our insatiable desire to take a shortcut in life, thinking it’ll get us there, and invariably it doesn’t.”

            Summer finds the Donner party heading to Fort Bridger where Hastings has promised to personally lead wagon trains through his shortcut. When the party arrives, however, Hastings has already left with another group.  James Reed reasons that the shortcut will save hundreds of miles and so they will be able to make the trip in only seven weeks. They elect George Donner as the captain of the wagon train and take Hastings cutoff where the traveling is smooth for about a week until they reach an impasse. Hastings has left and note and later advises them to find a different route through the mountains.

            With James Reed at the lead, the party leaves the trail and goes into the mostly uncharted wilderness.  This is a third segment that supports the main argument. When the party reaches this impasse and learns there is no real trail through the mountains, they decide to improvise instead of going back to fort Bridger and taking the normal route.  Looking back it seems ridiculous that an inexperienced group of settlers would head into unmapped woods hoping to find a quick route to California.  This was the point of no return.

            It took a month to get across the first mountains and to the shore of the Great Salt Lake and it was supposed to take a week to go this distance.  Still following the notes left by Hastings the party slowly went on until they reach the salt plains. Another member dies of consumption.  Contemporary historians call the attempt to cross the salt desert, “foolishness”. Hastings had underestimated the distance across by about half and without enough supplies oxen became heat crazy and many were lost, which meant the abandoning of several wagons.  The misery of the situation is described by primary sources.  Hastings arrives in California but the Donner party still has a long way to go.

            Fall finds the party with tempers wearing thin and James Reed kills John Snyder and is banished.  The Reed family continues with no sign of the patriarch.  The Donner party finally reaches the beginning of the sierras and receives some supplies as well as two Indian guides.  Just a few days away from crossing the mountain pass, it starts to snow and the settlers are completely stuck on the shores of the lake.  James Reed survives until Sutter’s fort and finds that his family is stuck in the snow covered mountains.  He is unable to raise a rescue party because everyone is fighting the Mexicans in California.

            The settlers build a winter camp and much of the information from this point is from the diary of Irishman Patrick Breen.  The snow continues and the pioneers watch for a relief effort and eat their livestock.  The snow becomes hopelessly deep, animals are lost and a third member of the party dies of malnutrition.  “The Forlorn Hope” describes fifteen men and women who decided to make another effort at escape.  Five people died quickly and the remaining ten committed the first act of cannibalism.  Several people had died back at the lake but six members of the forlorn hope made it out of the mountains and were fed.

            With the war in California over, two rescue teams were assembled with James Reed leading the second.  The first relief party reached the lake in mid February and found most people dead or dying.  Leaving a few supplies with the people remaining at the lake, the first party heads back and encounters James Reed on the way. The second relief party finds the camp alive only by eating the flesh of the dead.  The third relief party found only seven people left alive and the fourth and final rescue effort found one man alive, delirious and surrounded by human bones stripped of meat.  About half of the Donner party survived and most of them went on to lead normal lives in California.  When gold was discovered the rush to the west became a flood and what is now known as the Donner Pass became a tourist attraction.  It had taken one year for the Donner party to travel from Illinois to California in search of prosperity.
















This is the first sequence that supports the main point, a historian commenting on Hastings view of the American dream, “It’s all mixed up with the romance and the so-called ‘heroism’ of the westward migration and the big American dream. The American dream has some nightmares attached to it and this is one of the ways the American dream could go. The American dream probably resulted in for most of the people who followed it like a marsh light in disaster.”


This is the second segment that supports the main argument. The Donner party gets some good advice and decides to ignore it.  Primary and secondary sources show that the party got advice from an experienced mountain man telling them not to take the route Hastings had mapped out because it would be impossible and longer than the normal wagon trails. Historians analyze why James Reed decided not to take the advice, “He was an intelligent man, decisive. I don’t know. It’s always, I guess, our insatiable desire to take a shortcut in life, thinking it’ll get us there, and invariably it doesn’t.”


This is a third segment that supports the main argument. When the party reaches this impasse and learns there is no real trail through the mountains, they decide to improvise instead of going back to fort Bridger and taking the normal route.  Looking back it seems ridiculous that an inexperienced group of settlers would head into unmapped woods hoping to find a quick route to California. 


I can’t believe the professor encouraged me to write on this topic

Powder Road: a primer in drug trafficking


“Always there is more”—The Greek


Drugs are a commodity, like many others, in that they are produced, distributed, and sold—by individuals or corporations—to make a profit. Like many other products, the people at the beginning and the end of the distribution chain are the people making the least amount of money, and yet have the largest amount of risk. The Afghani opium farmer, for instance, does not make very much money, but grows opium anyway—either because it is still the most profitable crop for him personally, or a local warlord has a gun to his head.  On the opposite end, the street-level dealer who sells heroin to his consumers also makes very little money, and generally ends up dead or in jail.

            It’s intriguing to see how much the grower and the dealer have in common, which prompts the question “where does all the money go?”  In the international drug trade, it’s the middleman who gets rich and has the least risk. The scope of this study will be limited to the traffic of morphine and cocoa-based products, such as heroin and cocaine, since, currently, most of the other vast spectrum of types of drugs—for example, marijuana and methamphetamines—are produced locally or, at least, within the borders of the United States.  Cocaine and heroin, however, originate in South America and the Middle East, and make a long and elaborate journey on their way to the street corner. The risks and demand for these drugs allow for an extraordinary mark-up at all stages of the distribution chain.

It’s important to understand how this sort of business works, so as not to mistakenly place the blame for drug abuse and related crimes on the street dealers or their third-world counterparts.

The farmer is most often a victim of his circumstances because he does not have the geographic mobility to do anything else. In the areas where poppies and cocoa are grown, the militias are the law, and the drug cartels pay the militias. Generally, this means that growing something other than what the cartels want is not a smart thing to do. It can also be considered a lethal move because a farmer growing anything else may not provide enough crop (read: money) for his survival. This is the only major advantage the farmer has over the street dealer—he’s not nearly as likely to be killed by a rival, or jailed, because he is insulated and protected by the militias, as well as the police, who incidentally are also being paid by the drug cartels (McCoy p.31).

The farmer starts the process by planting Coca or Poppies in areas of the world where the official laws of the country are not enforced. Columbia and Afghanistan are the two largest suppliers of cocaine and heroin with about three quarters of the world’s cocaine production coming from Columbia (NDIC) and 87% of the world’s heroin coming from Afghanistan (Nazemroaya).  Despite state- and internationally- sponsored programs aimed at eradicating supply, the supply has not been significantly affected. We can see a clear parallel between the street-level enforcement and the supply reduction methods used internationally. Local narcotics teams may shake down a corner and take a small amount of drugs off the street as UN planes spray a poppy field with poison. Despite these hands-on approaches, neither method works to significantly decrease the consumption, or supply, of drugs.


            After the harvest, the unrefined product is transported to a suitable refining area by smugglers. Drug-smuggling operations are becoming more vertically integrated and, as a result, the distribution chain has become harder for law enforcement to infiltrate, and thus the quality of product has increased (CS). The refinement process generally occurs in semi-industrialized regions, due to the large amount of chemicals and laboratory instruments that are necessary. These areas tend to be in Eastern Europe and Mexico, as both have fairly easily-bribed public officials and are also close to the consumer markets. Smuggling the product across the border is the most dangerous aspect, with respect to evading authorities. If done successfully, however, it can also be the most financially rewarding (CS). The methods used in smuggling are numerous and often very intricate, but the most common and effective method is shipping as legitimate cargo, using a front company.

            Once the cocaine and heroin are inside the United States, they are generally wholesaled to independent interstate smugglers who often have gang connections to the retailers in a given market. It is important to understand that the structure of a drug-trafficking organization is not like the traditional mafia, with a pyramid hierarchy—until the product reaches the street, the distributors operate in independent cells that are ignorant of the higher-ups (CS). This limits the potential for police investigations because no one has the ability to make a deal with anyone regarding information they simply do not have.

These illegal drugs are usually purchased by the head of a localized gang that in turn distributes to the consumer. These gangs can be independent, low-level organizations, but more often than not are affiliated with a national gang, such as the Bloods, the Crips, MS-13, or the Aryan Nation. This happens oftentimes simply because the members of the gang are close-knit or related to each other (Jacobs p.31).

            Once the product is at this level, the pure product is generally diluted to a less-potent form, in order to increase profit, and then is distributed to the street corner dealer. These “cutting” agents can be any number of benign or harmful substances, and are often used liberally because the demand is completely inelastic. The dealer is then responsible for the day-to-day retail drug business.

            The organization of the street operation is important to understand because it is effective in theory, and gives the operators a sense of progress. A young kid may start off as a lookout, be promoted to handling drugs, and eventually might get to run his own operation if his superior sees him as competent. The extensive use of minors contributes to the effectiveness of this type of operation, mainly because they can not be punished like an adult and, as such, are less likely to cave to police pressure (Bourgois p.194). Other ways the street organizations effectively protect their players are with quick, helpful handouts, such as bail money and lawyers fees. There is also the concern for physical safety, its subsequent protection, and its use as a threat, that comes along with being part of a gang.


People sell drugs for many reasons, but in low-income ethnic neighborhoods, there are several factors that weigh in heavily. The first is simply the desire to make quick, easy money. On the surface it seems that street dealers are making significant amounts of cash, and are more than happy to spend it. This is not the reality, however—most of that easy cash goes to superiors, leaving a very small percentage to the street dealers.  In addition, the conspicuous-consumption dealers engage in to maintain street respect often leaves the dealers living from hand to mouth their entire careers(?) (Bourgois p.91). A lack of legitimate employment opportunity is yet another factor that is particularly hindering for people trying to get out of the drug business, because most employers are loathe to hire someone with a police record. Ultimately, it seems like a bad option for anyone to take, but it is one of the only options available (Jacobs p.41).

            The drug business is run like any other business, with the caveat that there is a huge amount of money and resources dedicated to totally eradicating drugs and drug addicts. The war on drugs, therefore, is not a “war” by any definition of the word, because only one “side” is trying to destroy the other “side”.  Drug dealers do not usually try to fight the police, nor are they mounting a general attack on the citizens of this country. On the other end of the distribution network, the farmers are not actively trying to hurt anybody either. On the most basic level they are trying to feed themselves by growing the only crop anyone wants to buy. This is by no means a defense of drug dealers, but in looking at the drug trade as a whole, it seems clear that we are punishing the poorest and most helpless persons involved. We are also losing the “war”.







Adler, Patricia A. (1985). Wheeling and Dealing; An Ethnography of an Upper Level Dealing and Smuggling Community. New York, NY: Columbia University Press


Bourgois, Philippe. (2003). In Search of Respect; Selling Crack in El Barrio. San Francisco, CA: Cambridge University Press


CS = Confidential Source


Jacobs, Bruce A. (1999). Dealing Crack; The social world of streetcorner selling. Boston, MA: Northeastern University Press


McCoy, Alfred. (2004). The Stimulus of Prohibition: A Critical History of the Global Narcotics Trade. In Steinburg, Michael K., Hobbs, Joseph J., Mathewson, Kent. Dangerous Harvest: Drug Plants and the transformation of the Indigenous Landscape. New York, NY: Oxford University Press


Nazemroaya, Mahdi Darius (October 17 2006). The War in Afghanistan: Drugs, Money Laundering and the Banking System. GlobalResearch.ca.



NDIC (2006). “National Drug Threat Assessment 2006




12 oz. mouse

Alex Churchill3/22/06                                                12 oz. mouse            12 oz. mouse is a cartoon series that airs on Cartoon Network at 1 am on Sunday nights.  It is in its first season with about 7 episodes so far and each episode is 15-20 minutes long usually without commercial interruption.  The animation is of the lowest quality on television.  Most people who see it would believe they could draw better than these animators. The stills are little more than stick figures.  This is a conscious decision by the creators because they occasionally throw in some impressive special effect or a detailed character that looks nothing like the rest of the show.  The show is somewhat serial because the ending of the each show flows right into the beginning of the next like it was created as one long movie and cut up in fifteen minutes segments.  They also introduce one or more new characters every episode. Despite this, each show could effectively stand alone without any introductory explanations because the viewer is occupied with trying to figure out the plot and dialogue.            Each show begins with a fast moving camera barreling through a cardboard city. This tiny city is also overtly cheap, obviously open top cardboard boxes with square holes cut out to look like widows.  The camera movement is accompanied by a heavy metal guitar riff and explicit lyrics, “car full of bitches and a brand new bong!” About halfway through the opening segment the buildings begin to explode in giant bursts of flame and flying debris. There are close ups of bars and strip clubs exploding and the camera passes right through the flames and eventually the whole cardboard city is up in flames.  This opening definitely sets the tone for the rest of the show, which centers on a drunken mouse who likes to drive his jet car through the streets.  The opening also gives the viewer some idea of the production values of the rest of the show.            There are certain themes that run through the series, none of them having any moral or social value whatsoever. For instance, Mouse drinks a lot all the time and likes to shoot other characters quite often.  The producers bring in extremely annoying characters just so Mouse can shoot them.  This pokes fun at traditional cartoon violence because there is never any blood and when someone gets shot they simply bounce around like pool balls. Every episode he goes to the bar and orders twelve beers at once from a floating head that is clearly a cutout of an e-mail or memo of some kind.  The theme of drinking and driving is prominent but somewhat convoluted. For example mouse is driving his jet car, asks for a few beers and his passenger in the back seat says “but you’re driving.”  Immediately mouse is in the back seat, “I’m not driving I’m sitting back here with you.”  The jet car crashes into a bank and mouse proceeds to rob it.            There isn’t really an identifiable plot even for one episode; the stories are structured around the other characters in relation to Mouse.  There are scenes that do connect with each other but often the episodes try to be as a random and inconsistent as possible.  This all part of the humor of the show, which relies mostly on ridiculous dialogue and characters as well as extremely ludicrous situations.  There are relationships that are consistent throughout all the episodes such as “shark” hiring Mouse to do things while Mouse runs off and exploits the situation. Mouse also has a friend named Skillet, and well drawn squirrel who squeaks and vibrates rapidly as well as moving with jets of flame from his paws.            The pacing of the show is very fast, switching from scene to scene often without any transition or connection to the scene before it.  This makes any continuity very rare but the goal of the show is clearly not to present a structured narrative with arching themes and value judgments.  The creators want the viewer to be amused and seem to concentrate solely on that goal, consciously rejecting the normal way to create a structure television series.            The characters are the most diverse group of strange drawings and personalities. There is the blue peanut shaped policeman who is consistently very stoned and unloads his shotgun not infrequently.  There is a pink rectangular box wearing sunglasses, a spy from Seattle, “that’s how you will know him, by his rectangularness”.  There are also countless other strange characters that defy description.  While the characters are hilarious, it is not easy to identify with any of them because they don’t resemble anything in reality and don’t even speak like normal human beings.            The dialogue and the random chaotic nature of the show give it its success as a comedic series.  For example there is a giant eye who pronounces the letter I in hard case.  This is just strange at first but as you listen more and more its starts to grow on you and eventually its so funny you start laughing before the eye even speaks.  Despite the crude drawings, there are many scenes that are ridiculous without any dialogue. In this particular episode Mouse and Skillet have a shoot out with an unseen foe while the peanut policeman laughs hysterically.  The only audio is gunshots, explosion, and giggles. This audio combined with the various weapons and movements of mouse and squirrel makes for a gut-busting scene.            Because of its unique and innovative style it is hard to tell if the series will be a commercial success.  The production values may turn some people off because low production values are usually a sign of poor creativity and value.  Something that could be improved is the general story line because it is very easy to get confused about what is going on.  Sometimes this creates a comedic effect but sometimes it can be too nonsensical and annoying.  It may become a success as a late night cartoon but if the producers want a time slot or channel with more exposure, they may have to change or eliminate some of the politically incorrect content.                       

Episode of “Entourage”




 This is a show that follows a rising movie star and his entourage, consisting of his older brother Johnny, his manager Eric and his friend Turtle as they run around the Hollywood scene.  Each episode always includes several Hollywood cameos and the show was created and produced by Mark Walburg.

The opening sequence is a sped up caddy going down Hollywood boulevard with many quick cuts to the sidewalks where we see fans screaming and the names of the actors on billboards.  Immediately after the opening we cut to an interior establishing shot of the entourage eating breakfast.  There are three basic shots in this scene, the long shot of everybody, two close-ups of the actor Vince and his manger as they have a dialogue, as well as tangential pans that give us the comments of the peanut gallery. As the conversation becomes more general and all four are involved, we see more of the steady medium shot with some quick reaction cuts. The entourage decides to go to Vegas following a bad press conference.

The new scene starts with the agent talking on his cell phone on the sidewalk and looking very stressed as the agent seems to be perpetually in that character.  We cut to Vince and his driver smoking a joint and telling the agent to come to Vegas with them.  We cut back to the agent as he is protesting and the escalade carrying Vince pulls up to the curb.  The agent is convinced to join the group, he jumps in the car, the music fades up and we cut to a montage of them driving down Las Vegas Boulevard in a very excited state.  The montage has a good shot of every major casino as well as the characters standing out of the sunroof and even being stuck in traffic.

They pull into the Hard Rock and we have a close up of the agent arguing with his wife as he is getting out of the car which pulls out to a long shot of the entourage getting out of the car. The audio is still mostly with the agent but the dominating image on the screen is with the fans that have approached the car to get autographs.  The camera then returns to a medium dolly shot face on with the characters as they enter and walk through the casino. At this point Comcast decides to go out of service for several hours.  As they get into the gambling area of the casino they encounter Seth Green and his entourage. At first there is a wide shot of the two groups facing each other exchanging pleasantries.  When it becomes clear through the dialogue that Eric and Seth have some animosity towards each other there are close-ups of them and it creates the impression that the conversation is revolving around them when in fact many people are talking.

The camera then resumes the dolly leading the characters all the way up to the room where the camera stops, lets the group pass and follows them into the room. Inside the suite the characters spilt up into different rooms or different parts of the same room.  We rotate close ups and medium shots of the suite as they continue the conversation. Eric, Ari(the agent) and Johnny all leave at the same time for various destinations and we follow Vince and Turtle as they go out on the casino floor with 100k. This is a very interesting shot because while we can clearly see the movements of the two centered characters, there are hundreds of people between the camera and the characters. The characters make a turn and come toward the camera as it slowly zooms out to reveal a blackjack table that Vince and Turtle sit down at.  After he throws down 100k in cash, we cut to an establishing shot of a strip club.  After we see Eric and Ari sit down to watch the strippers there is another cut to an establishing shot in a massage parlor where Johnny meets his masseuse who he treats with a little too much affection for a man.

The episode now begins to rotate between the blackjack table, the strip club and the massage parlor and the three different sub-plots.  At the strip club there are two main shots, a wide shot of the two guys from behind with the stage taking up most of the screen and a side close-up of the two of them pretending they want to leave.  At the blackjack table there is a medium shot of Vince and Turtle at the table with the dealers’ hands jumping into the shot to deal the cards. There are also several attractive girls standing behind them along with a good view of the casino floor.  In the massage parlor there is a close up of Johnny’s face as he enjoys his massage and there is a medium shot of the masseuse as he reacts to Johnny’s uncomfortable statements.

Ari and Eric join the blackjack table and the four take another walk through the casino with the familiar dolly lead shot.  They encounter Seth Green again and this time the animosity is clearer and the only conversation is between Seth and Eric.  Apparently Seth slept with Eric’s girlfriend and is pushing his buttons about it.  We cut to an establishing shot of the four sitting at a pool that looks to be stocked with playboy models.  The scene rotates close-ups of the characters two at a time as they discuss Seth Green.  Eric gets up to call his girl and is replaced by five strippers and the camera does a smooth 180 pan at about waist level so that the audience is clear about their professions.  We now cut back to the massage parlor where the two men are in different positions but the shots are the same one close up and one medium shot alternating with the speaker.  There is also a cut to Eric’s girlfriend talking to him in the car on a cell phone and back to Eric.

Returning quickly to Turtle, who has about twenty strippers surrounding him now, the camera does another 180 pan just to make sure the audience fully appreciates the fact that these are very attractive strippers.  After this we are back at the card table where Vince and Ari are losing lots of money.  Vince and Ari are partners in gambling and the close-ups of both their face make a funny contrast because Vince doesn’t care about losing in the slightest and Ari as usual is freaking out.  Ari stays at the table as we return to the hotel room where everyone else has returned and are getting ready for the night.  After this quick moment in the room we cut to an establishing shot of a crowded party as the entourage enters.  The characters follow the camera in a circle around the room in the middle of which we see Seth Green enter the party.  After a little while the group passes the door they came in and we notice that the party has gotten a lot bigger and more rowdy.  Interspersed in the medium shots of the group are close-ups of random girls dancing and people doing shots.

We go back to the card table where Ari has lost 200k and Vince shows up trailing a crowd and an exciting game of blackjack follows.  We cut between a wide shot of the whole table complete with a large crowd in the background and a close-up of Ari who is screaming and pulling out his hair.  They win the hand and we cut to a long shot of everyone flipping out.

Johnny and his masseuse have gone back to his hotel room where the masseuse undresses, assuming Johnny is gay from the way he has been acting all day. We see Johnny in the bathroom getting ready for a massage with a wide neutral shot. We also see the masseuse acting very conflicted as he takes off his clothes and Johnny rushes out of the suite as the music fades up.

A low medium shot of Johnny walking quickly down the hall cuts a few times to close-ups of strippers at the party. The last of these close-ups pans away from the stripper and we have another confrontation with Seth Green. This time the exchange is much more heated, everyone is drinking and the party is very loud and very crowded.  At the climax of this exchange, Johnny jumps into the medium shot of Seth and Eric and punches out Seth.  A huge brawl starts, we get a close up of Ari talking to Vince, “This should be good for your image” and then we zoom out to a long shot of the whole party; strippers on the stage and people fighting in the crowd.