Defamer posted an amazing blog today about this whole crazy Katie Holmes NYC Marathon Debaccle.

First off, if you don’t know anything about it, here goes…. Katie was only photographed at the 1st leg of the race and at the end with Tom and Suri. Also she went out later that night and wore HEELS. Um, Your legs feel like they are going to fall off after a marathon, much less want to walk on them….here is their story:

When it comes to the Katie Holmes NY Marathon conspiracy, we realize we’ve thrown quite a bit at you over the past couple of days, but the single most damning piece of evidence had yet to land in our inbox. A tipster we’ll call Deep Socks suggested we go to the official Marathon website and look up the split times, registered by every runner via computer chip (we’re learning so much more about marathon culture than our lazy asses ever imagined possible!), of a runner named Paul Vincent:
1) he has the same exact time that katie holmes has in the ny marathon….
2) and the same splits…which is impossible and can only be explained by paul vincent wearing katie’s chip and his chip, which registers your split times…..

Save for a few seconds here and there, their split times are virtually identical. (See side by side results above.) Is Paul Vincent the mystery runner photographed next to Katie throughout the course? But his bib read an unregistered #6074, and Vincent’s number was #28994. So who is he? And why did he do this? Well that’s the real question, isn’t it? Why? The how and the who is just scenery for the public. Holmes, Cruise, Letterman, the Beckhams. Keeps ‘em guessing like some kind of parlor game, prevents ‘em from asking the most important question, why? Why was Katie running? Who benefited? Who has the power to cover it up? Who?

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This is amazing! Another great reason why NY has it all right, and LA is just picking up the pieces. I am a huge SNL fan, always have been, and even if it continues to not be the best of their work, I always will be. Thanks to the New York Times for this amazing article.The continuing writers’ strike meant there could be no new broadcasts. Instead the cast, writers and a few key production staff members had gathered in a subterranean comedy theater in Chelsea to perform the show live on stage for an audience of less than 200, including a Who’s Who of downtown comedy. The TV audience got a rerun of a Nov. 3 show, but at the Upright Citizens Brigade theater there was a rare event born of hammy necessity, unexpected availability and good vibes.

“We’re like cranky trained monkeys if we don’t get to perform,” said Amy Poehler, who is also founder of the theater. “We all thought about what we’re going to do during the strike, and because we have no other skills, we just scraped this together.”

She added: “We’re treating this as an optimistic night. We’re celebrating all the hard-working people who have been laid off.”

About a week in the making and less than a day in rehearsal, the show was a mix of the writers’ favorite old sketches and never-before-seen but already written bits that had been rejected, for raunchiness, humor or time. The cast members did their own makeup and, with the Upright Citizens Brigade staff, found their own minimal props and costumes.

Via text message Ms. Poehler had invited Michael Cera, who had starred with her husband, Will Arnett, on the Fox series “Arrested Development,” less than a week before. He had never been on the show, so his opening bit blended the monologues of past hosts: Donald Trump (“There’s nobody bigger than me!”), Paris Hilton (“That’s hot”), Snoop Dogg (“I see the word shizzle,” Mr. Cera said). Except for Maya Rudolph, a new mother, the entire cast performed, joined by ex-members like Horatio Sanz and Ms. Dratch. Darrell Hammond pulled names out of a bowl and ran with them (Jimmy Carter and Ronald Reagan ordering pizza; Bill Clinton and Sean Connery getting arrested).

At 1 a.m. Mr. Thompson appeared onstage and introduced “Showtime at the Apollo,” the program that normally follows “Saturday Night Live.” Ms. Poehler interrupted: “We’re just running a little long, could we have some more time?”

Proceeds from the tickets were to go to SNL’s production staff, most of whom had had been recently laid off; some were in the audience. But the performance was less about money than community. (A sold-out live version of “30 Rock,” the Tina Fey comedy, is scheduled for 8 p.m. Monday at the theater.)

I wish I was in NY more than ever right now. Grab a picket sign kids and support your writer friends!

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