As the actress Anna Faris-who has played no small number of these roles herself-put it in a recent New Yorker profile by Tad Friend, these parts are “bounce-card roles,” named after “the reflective sheet that softens the light around an actor.” Friend’s revelatory piece was filled with bombshells delivering bombshells-juicy quotes from female actresses, screenwriters, and producers expressing exactly how dissatisfied they are with the current state of the comedy.
We know her, the ditsy blond in a raunchy comedy who pokes her head up among the boys like a peony in a bunch of cattails: bright, fragrant, and quickly disposed of. “You know her,” Harry sings over and over, in a tone at once seductive and vaguely threatening. As she swings helplessly across, waving to the befuddled housekeeper who pressed the switch, the drumbeats start up. Hamm’s character falls for the ruse, but kicks her out anyway-“This is going to sound awful, but I really want you to leave now.” Unable to open the electronic gate to his driveway, she tries to climb over it, only to be stuck on top when it suddenly opens from the outside.
#BRIDESMAIDS MOVIE SCENES CRACK#
“Her,” in this case, is Annie (Kristen Wiig), whom we’ve just seen, in the movie’s first scene, having bad sex with a pretty-boy cad (Jon Hamm) and then sneaking into the bathroom at the crack of dawn to reapply her makeup so that he’ll still find her attractive when he wakes up. “You know her,” Debbie Harry croons in the song that plays over the opening credits to Bridesmaids.
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