If you listen to Ordway, Merloni & Fauria, you are probably aware that Christian is a big fan of “The Bachelorette,” that he and his wife host viewing parties, and that he is the only guy at those parties.

On Monday night, Christian decided to take us inside one of those parties through the magic of Facebook live, and we got to meet his special guest — Rhode Island native Jared Haibon, who was on season 11 of “The Bachelorette.”

Check out the videos below:

A photo posted by Jared Haibon (@jaredhaibon) on

Blog Author: 
Donald Trump's wife Melania was caught lifting parts of Michelle Obama's 2008 speech at the opening night of the Republican National Convention. Kirk, Gerry and Mike Mutnansky react.

It's all in the details. (Craig Blankenhorn/HBO)

It’s all in the details. (Craig Blankenhorn/HBO)

Over the Thanksgiving holiday in 2014, I — like just about every other person who measures time in new media sensations — discovered the “Serial” podcast.

“Serial” Season 1 focused on the murder of Hae Min Lee, an 18-year-old student at Woodlawn High School in Baltimore. Lee was last seen leaving school at 3PM on January 13, 1999.  Her body was discovered in a shallow grave in nearby Leakin Park two days later. The case was immediately treated as a homicide and eventually Lee’s ex-boyfriend, fellow student Adnan Syed, was arrested, charged, and eventually convicted of first-degree murder. For anyone reading a TV recap blog not familiar with this podcast, this probably seems like a huge spoiler, but it is not; these facts introduced to the listening audience almost immediately. The genius thing about “Serial” season 1 is that every episode was about the details surrounding the case, the “characters” involved, and questioning the “open-and-shutness” of a crime of passion.

The best episodes of “Serial” weren’t focused on forensics; the best episodes of “Serial” were focused on the personalities of those involved, the motivations for their actions in the turbulant aftermath of the murder and investigation and host Sarah Koenig’s constant questioning of the facts and her personal feelings to them. It sounds boring and was fascinating. “The Night Of” is the sequel to “Serial” we were all hoping Season 2 would be and wasn’t. Sorry, Sarah Koenig.

The reason I bring up “Serial” has less to do with the similarities between its main suspect, Adnan Syed, and the main suspect of “The Night Of”, Nasir Kahn, and more to do with the incredible detail being put into the character development of the main “players” in each story respectively. What we lacked in hardcore-network TV drama-style clue discovery goes above and beyond in the character development area, which reveals a ton about who we are dealing with in the wake of the murder of Andrea Cornish.

Questions Heading Into Episode 2:

  • What kind of kid is Naz?
  • What does John Stone see in Naz?  What drew him back to this kid?
  • Of all the detectives in NYC, why call Box?  What makes him so important?
  • What does the crime scene tell us about the killer and the crime?

Theory Heat Check

The Cat: The cat is more than likely a red herring.  The cat was a device to show:

  • Andrea left the back door open after she put the cat out.
  • Andrea putting out the cat was not shot from Andrea’s point of view; this could be a cinematic device showing that her putting out the cat and possibly leaving the door unlocked was seen by someone else/someone watching the house.
  • The cat showing up in Queens at Naz’s house is to show that the answer is closer than we think and that the answer is in what the cat saw. In other words, the truth will be revealed to the audience, not necessarily the characters.

You can check out the full notepad for both weeks HERE.  

Entitled “Subtle Beast,” the title of episode 2 beautifully describes the mutual admiration Jack Stone and Det. Dennis Box have for each other as they stalk patiently around Naz’s case just waiting for their moment to strike.  Jack admires the things Box has done in his career; Box admires what he seemingly knows Stone is capable of when properly motivated. Early on in the episode when speaking to his client, Stone reveals to Naz just who they are dealing with as Box’s reputation precedes himself:

“Box is the senior man here. He got that way by doing what he does well. He rolls up his sleeves, delegates nothing, takes all things personally. I’m not saying he’s a bad cop. On the contrary, he’s very good. And like all good cops, he does you over just inside the rules. He’s a talented oppressor. Subtle beast.”

We get to see how subtle Box is in virtually every single scene of this episode; it is genius-level procedural sleight of hand. Naz’s parents have no legal right to see him because he’s no longer a minor? That’s fine; Ol’ Box will just sneak your parents in to visit because they seem like nice people and casually get the conversation on video recording just in case Naz lets some details slip.

Can’t speak to the suspect without his lawyer present? It’s fine; Ol’ Box will just do some paperwork in the room the suspect, Naz, happens to be held.  

Can’t get Naz to spill any details about the night in question even though he literally handed him a lifeline in the form of an inhaler? That’s fine; let’s just ship you off to Riker’s Island in a Harvard tee-shirt; a nice subtle way to help a naive kid scared out of his mind stand out when all he wants to do is fade into the background.  

His actions aren’t vindictive, they’re just “Inception” level tactics of planting land mines that will eventually go off; they are ways to rattle the tree to see what falls out.  The dark eyes of the deer head in Andrea’s brownstone aren’t the only pair staring straight out in hopes of catching subtle details. This isn’t the first time Box has been in this situation.  

Standing across the ring from Box and pacing like a journeyman fighter who has made a career out of taking punches is Jack Stone.  While there is nothing subtle about his direct actions — verbally sparring with detectives in the bullpen, sitting beneath his own garish “NO FEE UNTIL YOU’RE FREE” signs on the subway, violently scratching his increasingly worsening eczema-ridden feet — he too is moving into the perfect position to strike. The audience is treated to a hint of just how sharp Stone is when crossing paths with Det. Box in the bullpen:

(via EW.com)

Box: I feel for him.

Stone: I’m sure you do.

Box: I do. I let him talk to his distraught parents.

Stone: Yeah? You tape it?

Box: This is a little out of your league, isn’t it, John?

Stone: [gesturing towards the vending machine] Bloomberg would have been appalled by the snacks here.

Box: You’re not gonna get rich off of it, if that’s what you’re thinking. It’s gonna be the shortest trial in history.

Stone: Yeah? Is that why you haven’t charged him? He doesn’t feel right for it, does he? Something in your gut isn’t liking him for this and you can’t bring yourself to pull the switch.

Granted, while you can expect David Price’s dialogue — which has made everything from movies like “Clockers” to television staples like “The Wire” to works of fiction like “Lush Life” explode off of their respective mediums — to pop like that, John Turturro’s delivery reminded me of a boxer just luring in his opponent so he can land some hurtin’ bombs right before the bell. Straight Rope-A-Dope style gamesmanship. Like his opponent, this isn’t Stone’s first match either.

Side Note: I want to see the backstories of both Jack Stone and Dennis Box and I want to see them now. I’m more interested in seeing their early tangles on the way up in the New York City justice department than I am seeing young Han Solo and young Boba Fett cross paths on various Kessel Runs.  

Ultimately, the most revealing parts of the episode had everything to do with the storytelling — not necessarily WHAT was said, but HOW it was said.  Every single character in tonight’s episode– with the exception of Naz and his family– approached the events of the worst night of this 23-year-old’s life as if they were as routine as getting a coffee on the way into the office.  

Det. Box has risen to his level of prestige because of his relentless pursuit of the truth;that pursuit takes time, patience, and repetition. Going through the motions of investigating this case is no different.  

Jack’s navigation of the legal system has been honed over years of battling in the courts on every case he can scare up — which by the looks of it are few and far between and not the most prestigious. He takes good news and bad news about his clients the same way: en route to another meeting trying to hustle for to be someone’s legal representation. That kind of numb perseverance takes a long time to craft.

We meet District Attorney Helen Weiss. She’s outside smoking a cigarette on the steps of a courthouse during jury deliberation, as she probably has every single day for her entire career. A person’s life hangs in the balance but it’s also hanging during my cigarette break — ho hum. Smoke ’em if you got ’em.  

We even learn the other men who are being transported to central booking before going to Riker’s Island — through ADR/off-screen dialogue — have all been there before. This overnight pitstop is just a part of the process.  

What is a journey through all pathways one can find themselves inside of a courtroom is presented as mundane: just your normal everyday inconvenience, except in this world the inconvenience is a first-degree murder charge.  

But not Naz. There has to be something to the fact that everything that happens to him is a surprise; absolutely nothing is routine for him here. He has spent zero time thinking about the future and all of his time trying to remember the past and what really happened the night of.  That has to mean something… right?

Suspect List

  • The friend who stared down Naz & Andrea just a second too long
  • This creep, Don Taylor:
Screen Shot 2016-07-18 at 1.53.01 AM

Courtesy: HBO

The Notebook:

  • This week’s Could be something, could be nothing: Box’s paperwork project: 
Screen Shot 2016-07-18 at 12.07.27 AM

Courtesy: HBO

  • The hazy, fuzzy sounding dialogue in the opening, that’s new information; we have not heard this part of the conversation between Andrea and Naz previously. He’s remembering things.  
  • There is blood on the deer head. How did it get there? It can’t be from from Naz sprinting out of the house; that blood is on the railing. Perhaps from the knife game? Perhaps from Andrea and Naz hooking up mid-walk up the stairs?  
  • The forensic scientist at the scene of the crime mentions the cat to Det. Box. I’m telling you, the cat is more than a red herring — it’s Chekhov’s cat.  
  • There is a tremendous amount of blood splatter on the walls of Andrea’s room. There is no way Naz could have killed her based on the the splatter alone. Naz wouldn’t be absolutely covered in blood when he came to in the kitchen.  
  • Don Taylor (the stepdad) is no good. He is almost certainly hiding something or at the very least, he is withholding crucial pieces of evidence. This is explicitly shown when called to ID the body. As next of kin, it is his word that can put the part of the case to rest and he withholds it until he would have to be confronted with seeing the body itself. Even if he isn’t the killer (BUT HE DID JUST SHOOT THE TOP OF MY SUSPECTS LIST), he is a character whose very presence on screen is screaming out that he feels underappreciated for a bevy of reasons that double as motive.  
  • I’m not letting this cat thing go. 


Blog Author: 
Padraic O'Connor
After 544 days, DeflateGate finally ended last Friday with Tom Brady bowing out of his appeals. Dino, Gerry and Tanguay discuss why Brady made the call to bow out.

[0:03:35] ... most unselfish things a player can do. This is the epitome of Tom Brady because there's a lot of guys. Would say screw that how does this I'm good I'm gonna go to the wall and I don't care find what game in no chance. Sorry was gonna lose anyway but some guys would still here we share is what I wanna know how does this change Tom where'd you know. That he does very little less league less you know it's not too in the espy's anymore he probably regrets to an adult time theme in San Francisco that thing yeah the when he does that reluctantly Super Bowl MB yet he's is still see differs gramley in his hometown. He won't do that again I I think. That he lives ...
[0:06:57] ... things one really stupid and won his last pair graphic shot at Tom Brady and the New England Patriots. He did say look it's pretty clear what happened in the days after the patriots 45 seven wood of the colts let's not move our brains. And deflate the damn thing okay civilly let's not pretend for a second that the NFL's version of discipline is fair it is not fair what happened at Tom Brady. That's a leap for Greg yes but he did he say that's when he's caught up. Eventually everyone catches up eventually tang ...
[0:08:33] ... an investigation and I believe it was our old good friend. And. Bob Kravitz WT HR early in the morning 155. He tweeted. Breaking a league source tells me via pills investigating the possibility the patriots ...

Dino, Gerry and Tanguay spend the final hour-plus of the show discussing the upcoming Republican Convention in Cleveland and taking calls from different sides of the Black Lives Matter debate and it's role in flaming recent violence in the US.
Gary Tanguay would like everyone to get off David Price's case despite suffering another loss on Sunday; the guys also discuss E-Rod, Hanley, and other Sox issues.

[0:08:08] ... hurt them. Jerry how would you define clutch hits US the question. Hanley Ramirez out differently this way you know when you see it that's got looking at close and lights numbers and say yes so what runners in scoring position would unnecessarily be down done clutched his a couple of personal interest I can do that too you know baseball reference look at closely with the Hanley Ramirez with runners in scoring position adding to 72. Hanley Ramirez with two outs and runners in scoring position is batting 239. Hadley late and close. It against 50130. While so late and ...
[0:10:06] ... back quoting Cedric Maxwell and bring the guys home right you know David Ortiz is done that for the first half Julius and so for. Commercial district is. Anybody have any chance of doing well I'm ...
[0:17:34] ... correct who was the last player to Wear 31 it was not Jon Lester it was someone last year that's correct. I was the considerate Maxwell Angel Cabrera quote Alejandro the Gaza I knew it was an Irish guy and then it was Jon Lester. Jon Lester who want and 31 and Chicago couldn't handle it because. Resentment is I don't know who Greg Greg Maddux were diplomatic matter right area. OK so before. Comrades. Piazza. And Lester who were 31 giving it 2000 war. Roberts every they're ...

Gary Tanguay and John Dennis combine for 'Headlines' with Kirk Minihane out, running through the salacious news of the day.
John, Gerry and Gary Tanguay welcome Brad Faxon from overseas to discuss Henrik Stenson's win at the Open Championship with a 10-birdie final round
Dino and Gerry square off against fill-in host Gary Tanguay regarding the role of President Obama in recent weeks, specifically in regards to how much the POTUS speeches have affected US unrest over race relations and anti-police sentiment

We are very sorry about all of this. (Steve Jennings/Getty Images)

We are very sorry about all of this. (Steve Jennings/Getty Images)

Paul McCartney is playing at Fenway Park on Sunday and to celebrate the occasion, we did the worst thing possible: We ranked Paul McCartney’s songs.

This is a very stupid exercise because Paul McCartney is the best pop songwriter ever. He’s churned out so many hits that there is no right or wrong answer as to what his best song is.

(Note: There actually is a wrong answer. If you think “Hey Jude” is his best song, you’re wrong. DJ here, by the way.)

Either way, Scott McLaughlin and I each came up with our own top 20 lists, a hard enough task (which can be seen below), and then negotiated to make WEEI’s Top 20 Paul McCartney Songs, a List for Which We Are Sorry:

20. Uncle Albert/Admiral Halsey

The mixing of the “Let It Be” recordings were infamous for Paul’s disagreements with Phil Spector as to how his music should sound. During the recording of “Abbey Road,” the other Beatles dreaded work on songs like “Maxwell’s Silver Hammer.” The best thing about McCartney’s solo stuff is that he was left to his own devices, for better or for “Temporary Secretary.” Less than a year after the Beatles’ breakup, McCartney got a lot of his silliness out uninterrupted on “Ram” and this song in particular. -DJ

19. For No One

McCartney might be the best sad song writer ever, and “For No One” is a classic breakup song set to beautiful music. Alan Civil’s French horn solo is brilliant. -Scott

18. Live and Let Die

This is one of the best songs from McCartney’s post-Beatles career, and it’s easily the best-ever James Bond theme. The orchestral arrangement is outstanding, which shouldn’t be surprising since McCartney reunited with George Martin. “Live and Let Die” is also one of the top highlights of a McCartney concert. -Scott

17. Paperback Writer

Debating who the Beatles’ best songwriter was is fun, but the truth is it isn’t close. It’s Paul by a mile. Many of John Lennon’s (and some of George Harrison’s) were better than many of Paul’s, but here’s one of the many examples of how much better Paul was than the others: When the Beatles needed to release a single while working on “Revolver,” John came up with “Rain.” Paul came up with this. -DJ

16. Blackbird

The fact that this is what came out after McCartney tried to learn Bach says all you need to know. -DJ

Screen Shot 2016-07-16 at 11.07.41 AM15. Helter Skelter

It will never cease to amaze me that McCartney just heard Pete Townshend talking about loud, dirty music, decided he wanted to make a song like that, and proceeded to make one as great — and as loud and dirty — as “Helter Skelter,” which can accurately be called one of the first heavy metal songs. -Scott

14. Eleanor Rigby

McCartney makes a song about loneliness and death without any of The Beatles playing an instrument on it, and it still becomes a hit. One of George Martin’s best string arrangements. -Scott

13. I’m Down

As this list progresses you’ll find that I’m a fan of the Paul screamers, and though his best screamers came in the late 60s, this helped pave the way. A pretty straightforward rock song that falls in line with their earlier stuff, it’s insane to think that they made “Rubber Soul” just four months after recording this. -DJ

12. I’ve Just Seen a Face

“Help!” was an album mostly filled with sad (but still great) songs, but “I’ve Just Seen a Face” stands out as one of the happiest, most upbeat songs in The Beatles’ catalogue. Also, fun fact: “I’ve Just Seen a Face,” “Yesterday” and “I’m Down” were all recorded in the same session, which is about as good a recording session as anyone’s ever had. -Scott

11. Maybe I’m Amazed

The Beatles were guilty of committing some cliche key changes (looking at you, “Penny Lane”), but McCartney knew how to modulate the cool way: from one section to another and back. In perhaps his best post-Beatles love song, McCartney changes keys from the intro to the verse to the chorus throughout the song. Also, he screams. -DJ

10. Too Many People

Perhaps lost in the ex-bandmates using their solo work to snipe at each other: Some of those songs were truly great. Though the best Beatle-on-Beatle crimes were actually committed by Harrison (“Wah-Wah,” “Isn’t It A Pity” to a degree), this shot at John and Yoko was easily one of McCartney’s best post-Beatles songs, from the wonderfully sticky acoustic guitar to the pointed lyrics. -DJ

Paul McCartney is playing at Fenway Park on Sunday. (Jim Dyson/Getty Images)

Paul McCartney is playing at Fenway Park on Sunday. (Jim Dyson/Getty Images)

9. All My Loving

There are certain songs I like to describe as “perfect pop songs” and this is one of them. Lennon’s guitar is excellent and the moment when the harmony kicks in on the third verse (Paul sang it himself) is one of my favorite moments in any Beatles song. -Scott

8. I’ve Got a Feeling

Tragically left off this list is “Let Me Roll It,” but this is another one with a simple-yet-outstanding riff. Recorded the same year as “Oh! Darling,” this was peak Screaming Paul. -DJ

7. Let It Be

“Let It Be” is one of The Beatles’ most peaceful, soothing songs, which is ironic since it was recorded during the tumultuous time when they were well on their way to breaking up. I go back and forth between which version I like more — the single version with the smooth guitar or the album version with the crunchier guitar. -Scott

6. I’m Looking Through You

From one year to the next, the Beatles found that acoustic guitar and lap percussion — the same combination that logically served a ballad in “I’ll Follow the Sun” — could also deliver an outstanding rock song. The hero of this one isn’t Ringo’s organ in the chorus, but the tambourine that accompanies it. -DJ

5. Golden Slumbers/Carry That Weight/The End

We debated whether it was cheating to combine these three into one entry, but they obviously fit together and they’re often played together, whether on radio or in McCartney’s live performances. These three make for an amazing finish to the Abbey Road medley, highlighted by McCartney’s vocals on “Golden Slumbers,” the “You Never Give Me Your Money” reprise on “Carry That Weight,” and the drum and guitar solos on “The End.” -Scott

4. Hey Jude

Everything about how “Hey Jude” builds is perfect. It goes from just McCartney and his piano to start, to more instruments joining throughout the first half of the song, to the climactic transition from the verses to the “Na-na-na-na” coda. Then during the coda itself, you get a 36-piece orchestra and McCartney going crazy with his descant. Also, shouts to everyone responsible for leaving in the “Oh, [expletive] hell” you hear just before the three-minute mark. -Scott

3. Band on the Run

McCartney owned pop, but he only played by its rules when he wanted to. Though he could be nostalgic and/or stick to basic structure (particularly when dipping into other genres, such as in “Ob-La-Di, Ob-La-Da”), McCartney often threw out the verse-chorus-verse-chorus-bridge-chorus playbook. As he aged into his late 20s, McCartney unapologetically mashed bits and pieces of songs together, resulting in sharp turns and melodic abandonment not commonly found in pop. This is perhaps the best (though not greatest; see No. 1) example, and each of the three sections are outstanding in their own right.

The best part is that despite the sections not having much in common melodically, the is still able to use the vocal to build, going from the murmur of “stuck inside these four walls” to the double-tracked “If I ever get out of here” and finally the magnificently spacey “Well the rain exploded with a mighty crash.” -DJ

2. Yesterday

It’s the best breakup song ever made, and there have been lots of great breakup songs. “Yesterday” is essentially a McCartney solo song (he’s the only Beatle on it), but George Martin deserves major props for pushing the idea of using a string quartet, something The Beatles hadn’t done before. -Scott

1. You Never Give Me Your Money

This is the aforementioned melodic abandonment at its finest, easily surpassing Lennon’s “Happiness is a Warm Gun” as the best Beatles song to embrace such herky-jerky structure. Where Lennon often called for effects to alter his voice, McCartney loved deploying different characters and voices throughout songs, a move of which Billy Joel would eventually make a career. Screaming Paul makes an appearance at the end and the nursery rhyme bit is an “Abbey Road” highlight, but the combination of tack piano (which actually isn’t even tack piano) and Paul’s mock-baritone in the “Out of college” section is the true winner. That mock baritone can be found time and again in Paul’s work; it’s sneaky good on the harmonies during the second verse of “Too Many People.” -DJ

Blog Author: 
DJ Bean and Scott McLaughlin