Probably the greatest cast in a novel adaptation this world is ever going to witness. Yes, we’re talking about The Lord of the Rings trilogy. This trilogy changed the definition of fantasy films and evolved movie-making after its release.
Director, Peter Jackson, inspired by the fantasy novel-epic by J.R.R Tolkien, made this movie his magnum opus and changed Hollywood forever.
The trilogy is one of the greatest and most influential movie series ever made.
Here are five more films if you liked this masterpiece.
1. The Harry Potter series
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This world-famous movie series everyone watched when they were kids and teenagers and adults, and it never stops.
This magical world created by J.K Rowling and originally released as a series of seven novels from Philosopher’s Stone in 1997 to Deathly Hollows in 2007.
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The story revolves around the protagonist Harry Potter played by Daniel Radcliffe, and his magical life with his friends Hermoine Granger played by Emma Watson, and Ron Weasley, played by Rupert Grint.
We see Harry going through from his childhood into adulthood, dealing with all the problems he faces. From his friendships to his spells. The journey is an unforgettable one.
2. The Chronicles of Narnia
The movies that make you forget your mundane lives and get into a world of pure fantasy and dreamlike universe.
Inspired by the novels series of C. S. Lewis. From a total of seven books, three were made into movies. Namely, The Lion, the Witch, and the Wardrobe, which came out in 2005, then Prince Caspian in 2008, and lastly, The Voyage of the Dawn Treader in 2010, grossing over $1.5 billion worldwide. The story revolves around the adventures of the children in Narnia.
A wise and powerful lion, Aslan guides the children to their aims. The Pevensie family includes four siblings, namely William, Anna, Skandar, and Georgie. Their arrogant cousin, Will often accompany them. Lian Neeson does the voice of Aslan. The story revolves around the adventures of the world of Narnia and how they fight the White Witch, played by Tilda Swinton.
3. The Wizard of Oz
Widely regarded as one of the best films of all times. The oldest movie on the list, released in 1939. The film’s legendary actors are Judy Garland as Dorothy Gale alongside Ray Bolger, Jack Haley, and Bert Lahr. It is still popular because of its use of technicolor and unforgettable musical score.
The movie is still an American pop culture icon, awarded with six Academy Awards.
4. The Star Wars series
Star Wars, the movie whose talks would never stop coming up every time the world sci-fi is there. From the C.G.I to the morals of the story, everything about this movie is exemplary. And the soundtrack is just amazing. And the ever cute Baby Yoda. The movie got extremely popular being the first time anyone saw space ships flying without any wires visible. The high-quality lasers felt quite real, and everyone almost lost their minds.
The 1977 American epic space opera film, by George Lucas, stars the following: Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, David Prowse, James Earl Jones, Anthony Daniels, Kenny Baker, and Peter Mayhew.
5. The Shrek series
The favorite animated movie of many is none other than the Shrek series. Based on the 1990 fairy tale picture book of the same name by William Steig. It stars big names like Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow as the voices of the lead characters. The series consists of four movies, namely Shrek (2001), Shrek 2 (2004), Shrek the Third (2007), and Shrek Forever After (2010).
The story revolves around an Ogre, who accepts a quest to rescue a princess and gradually falls in love with her. The witty and humorous storyline makes it fun to watch series.
The Best Scenes In ‘Goodfellas’ — The Most Rewatchable Movie Of All Time — Ranked
Goodfellas is maybe the ultimate “drop everything and watch” movie. So many times I’ve come across it on cable, intending to catch only a few minutes between commercials for something else, only to wind up fully engrossed hours later, in a movie I’ve already seen more times than I can count.
Goodfellas wasn’t sold or structured as a comedy, per se, but it seems to be every comedian’s favorite movie, and for good reason. Each watch seems to deepen my appreciation, and Lebowski-like, it gets funnier every time. At this point it’s almost more like a classic album than a movie, a series of irresistible melodies and favorite bits that change a little with each subsequent viewing. Even within individual scenes I find new characters and reactions to enjoy.
Goodfellas turns 30 this month, and it continues to age like a fine wine. For its anniversary, in lieu of another thinkpiece or oral history, I thought we’d treat it more like an album, and rank it scene by scene.
15. Helicopters Following Henry / Lois And Her Goddamned Hat
I put this scene on the bottom not because it’s the worst — in fact it’s one of the greatest portrayals of cocaine paranoia in all of cinema — but because of my sheer hatred for Lois and her goddamned hat. Lois, if you’ll remember, is the Hills’ babysitter, who Henry has roped into the drug trade. She borrows babies to pose as a young mother on flights to ferry cocaine to Henry’s partners.
The final scene before Henry gets pinched is him trying to simultaneously pick up his brother from the hospital, cook up a nice ziti with meat gravy for his brother’s dinner that night, offload some stolen guns, cut the package of cocaine at the house of Sandy (Henry mistress 2A-1, played by Debi Mazar), before taping all the drugs to Lois and getting her on a smuggling flight, all while Henry is pretty sure he has helicopters tracing his every move.
The whole thing is a perfect depiction of the kind of over-ambitious multitasking one might attempt in the midst of a cocaine binge. It’s so effectively communicated that it remains weirdly relatable even if you don’t do cocaine, have mistresses, or break the law. Sometimes we just try to do too much, you know? Henry’s day of helicopters, cocaine, guns, mistresses, mules, and Sunday Gravy is just the logical extension of that. (Fun fact: the doctor who tries to get Henry to take it easy is Isiah Whitlock Jr., who would go on to play Senator Clay Davis on The Wire).
And then… Lois (played by Welker White, who returned as Mrs. Hoffa in The Irishman).
In a movie of nuanced, fully fleshed out characters, I enjoy Scorsese and Pileggi’s decision to make Lois the Babysitter, of all people, an absolute unmitigated pill. On this night, she flat out refuses to go anywhere unless Henry drives her to Far Rockaway to get her lucky hat. “It’s my lucky hat. I don’t fly without it.”
Is it even possible to hate a person more than I hate Lois in that moment? I hate her so much that every time I watch Goodfellas I forget that Henry didn’t actually get busted because of the hat. He never even got out of the driveway. That’s how powerful Goodfellas is: even after two hours of watching Henry Hill make terrible decisions, Scorsese so effectively puts me in the mind of his protagonist that for a second I can pin all his misfortune on one bratty babysitter and her stupid hat. Screw your hat, Lois.
14. Karen Realizes She’s Going To Get Whacked
The beauty of Goodfellas is that whereas the Godfather gave us the mafia from the perspective of its royalty (“real greezeball shit,” as Henry Hill might say), Goodfellas is about your average wiseguys. Its protagonists are guys whose greatest ambition in life is that maybe one day someone in their crew might become a made guy. In that context, the way Henry begins fearing he might get whacked is suitably anti-cinematic (“If you’re part of a crew, nobody ever tells you that they’re going to kill you. Doesn’t happen that way. There weren’t any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends…“).
Of course, ambiguity is much scarier than open antagonism. An authoritarian state doesn’t keep you in line with tons of draconian rules, it keeps you in line with an absence of them, ambiguity mixed with the knowledge that crossing even an unspoken line can come with the ultimate consequence.
So it is that in one of Goodfellas‘ final scenes, Henry is convinced that he and Karen are marked for death, while Karen, thinking maybe he’s just being paranoid and maybe in a little bit of denial wanting to believe that they can keep their comfortable lives, goes to meet Jimmy. The scene that follows, in true Goodfellas fashion, is both deeply unsettling and subtly hilarious. Deniro’s Jimmy Conway coldly plans to have one of his oldest friends murdered, and does so in the most low-rent, Wile E. Coyote-ass way possible, trying to lure her into an alley with the promise of Dior dresses.
“Hey, Karen, my friend has some brand new Dior dresses for you. They’re over there. No, over there. A little further. There, keep going. Keep going, they’re right past the plastic sheeting, in that abandoned storefront, right next to the big spraypainted ‘X’…”
13. The Wave Of Whackings Set To Eric Clapton
Scorsese is a master at removing the sheen of glamour from the mafia. Why does Jimmy have to kill basically the entire gang from the Lufthansa heist (the most successful score in history)? Partly because some of the gang is kind of annoying (especially Morrie, a classic noodge). But mostly because Jimmy is just such a tightass that he can’t bear to share the loot. And again, rather than a series of cinematic murders, Scorsese explains this with a montage of stinking corpses at the moment of their unglamorous discovery.
12. The Copa, Part 2: Sammy Davis Jr.
This scene is the button to an earlier scene, where Joe Pesci’s Tommy Devito is telling Henry that he can’t believe “a Jew broad” is “racist against Italians.” “You believe that? In this day and age?”
Then, later at the Copa, Tommy is so insecure that he can’t let it go when his date says she can understand how a white girl might fall for Sammy Davis Jr. “Oh, so you condone that stuff? I just wanna make sure I don’t wind up kissin’ Nat King Cole over here.”
The best filmmakers can construct brilliant scenes using only dumb and dull characters, and this is an absolute masterpiece of the genre (“He does these impressions? I’d swear you’d think it was the real people!”). Meanwhile, the whole thing takes place alongside human sight gag Frank Carbone (Frank Sivero). The “Nat King Cole” line doesn’t seem to be in any of the scripts, leading me to believe Pesci improvised it or someone suggested it on set. Pesci won an Oscar for Goodfellas, but he should probably have gotten ten of them for the sheer volume of enjoyment I’ve gotten out of this performance.
Fun Fact: In 2014, Frank Sivero sued The Simpsons for $250 million, arguing that they’d stolen his likeness for their character of Louie the mobster.
In his latest lawsuit, Sivero alleges that in 1989, he was living in an apartment complex in Sherman Oaks, California. He says that writers of The Simpsons were literally living next door to him in that same complex.
“They knew he was developing the character he was to play in the movie Goodfellas,” states the lawsuit. “In fact, they were aware the entire character of ‘Frankie Carbone’ was created and developed by Sivero, who based this character on his own personality.”
What, you make a mobster character and you don’t even let your neighbor get a taste? I’m just tryin’ to wet my beak a little here. (Also, Frank Sivero’s Instagram account is truly one of a kind.)
11. “What Kind Of People Act Like This?”
Italian-Americans and American Jews always seem to make such ideal literary foils, both mirroring each other’s stereotypes and acting as complementary opposites. In the sequence following Henry and Karen’s marriage, it’s hard to say what’s funnier, Karen trying to come to terms with Henry’s family or Henry trying to live with Karen’s. It’s a sequence that begins with Karen trying to keep track of all the Peters, Pauls, and Maries at their wedding, continuing through Karen’s horror at their nail salon gossip (the Italian women mistaking jealous rages for love is a consistent sub-motif in Goodfellas), culminating in Henry getting an earful from Karen’s overbearing mother (Suzanne Shepherd, who went on to play Carmella’s overbearing mother in The Sopranos).
“The man hasn’t been able to digest a decent meal in six weeks!”
10. Roughing Up The Mailman
Young Henry’s parents are so angry about his report card that he might not be able to make deliveries for the gang anymore. Solution? Shove the mailman into a pizza oven and threaten his life if he ever brings another report card to Henry’s house. Bada bing, bada boom, problem solved. (Again, one of the things that makes Goodfellas great is that the characters aren’t that smart).
My second favorite sight gag in Goodfellas behind Frank Carbone’s eyebrows is Tuddy and his short little arms. (Fun Fact: Frank DiLeo, who played Tuddy Cicero, was a famous music executive who at one point was Michael Jackson’s manager).
9. GET YOUR OWN GODDAMN MAN
Lorraine Bracco’s depiction of Karen Hill is such an operatic performance, not just in terms of rage and broad emotion, but for sheer vocal output. Johnny Rotten famously said that his stage persona with the Sex Pistols had been inspired by Sir Laurence Olivier as Richard III, and I don’t know if Lorraine Bracco’s performance in Goodfellas has ever inspired a punk band but her booming chest voice cuts through you as good as any Minor Threat song. She channels that shriek from the ground up through her diaphragm and vomits it into the stratosphere. Death metal singers can only dream of channeling Lorraine Bracco letting loose into an apartment intercom.
YOU HAVE A HOO-AH! LIVING IN YOAH BUILDING! JANICE! ROSSI! TWO R! HE’S MYYYY HUSBAND! GET YOUR OWWWWN GODDAMN MAN!
An absolute banshee from hell with a voice like a buzzsaw. Lorraine Bracco in Goodfellas sounds like she has a Les Paul with a Marshall stack plugged into her larynx. I stand in awe of it.
8. Morrie’s Wigs
There’s so much backstory to Morrie’s wigs ad that I can barely do it justice in the space I have here. But suffice it to say, Morrie Kessler was based on Marty Krugman, a bookie who also sold wigs. The commercial itself was inspired by an ad for a window company called Aalco that played on Queen’s public access TV station.
One night, according to Joe Reidy, the first assistant director on Goodfellas, Scorsese saw a crude TV commercial for a windows company called Aalco, and wanted it to look exactly like that. He had his people track down the company’s boss, a man named Stephen Pacca who, they discovered, was also the guy on screen, selling his own product. They called him in for a meeting in view of having him consult on the Morrie ad, then asked him to make it himself, just as he did his windows ad. Scorsese left him to it.
The actor who played Morrie, meanwhile, Chuck Low, who is perhaps the single most eccentric and memorable minor character in the entire movie, was at one point Robert Deniro’s real estate consultant and landlord. It just goes to show: if you want your movie to have memorable characters, cast memorable characters.
7. The Pistol Whipping / “What Do You Want, F*cko?”
In a lesser movie, Karen would be a sidepiece, a footnote to the Henry character, but Goodfellas explores her psyche in nearly as much detail and nuance as it does Henry’s. Meanwhile, the scene where Henry comes after Karen’s rapey spoiled dork of a neighbor is a perfect illustration of the way Goodfellas manages to be simultaneously horrifying and hilarious.
In a weird way, I find this to be one of the funniest scenes in the movie. It’s a perfect bit from beginning to end, from the neighbor’s attempt at a blasé kiss-off (“What do you want, f*cko?” — you could make a drinking game out of people saying “f*cko” in Goodfellas) to the sheer number of times Henry pistol whips him to Karen’s weird arousal at the end. It gets a little funnier every time Henry hits the guy in the face with the pistol where the excessiveness itself is the joke, sort of like the boardroom scene in Robocop. The repetition also allows us to savor the horrified looks on the guy’s friends’ faces in the background.
This scene is essentially the place where two groups of similar frat bro-type dudes from different social classes collide, where leather blazer meets yellow Members Only jacket, if you will. Though it always bothered me that Henry doesn’t take his jacket off before beating the guy. You don’t want your arms constrained like that during a beat down, come on!
6. The Prison Feast
As an experienced home cook I would strenuously suggest that slicing your garlic paper thin so that it liquifies in a little oil is unnecessarily labor-intensive prep work with very little upside. Just smash the garlic and cook it gently at low heat. Or, use a little more olive oil, leave the garlic whole, sautee it on low for 10-15 minutes and then smash it with the back of a spoon once it’s soft. I digress, but the point is, anyone who has seen this movie remembers this scene and anyone who loves it has probably attempted some version of this meal themselves.
The beauty of this scene mostly speaks for itself. But in 30 years of rewatching this over and over, I think my current favorite part of it is Frank Pellegrino’s (as Johnny Dio) line read of “Oh, medium rare, an aristocrat.”
Such a Bugs Bunny-ass line read. It gets me every time.
5. The Copa, Part One / “You Don’t Seem Like You’re In Construction”
I’m fairly certain I don’t need to write another love letter to one of the most famous tracking shots in movie history. Suffice it to say, it’s very good. There’s so much nostalgia for a more face-to-face way of life wrapped up in just this one shot.
4. “F*ck You, Pay Me.”
Sonny Bunz (played by Tony Darrow), the bumbling owner of the Bamboo Lounge, is probably my second favorite odd side character in Goodfellas behind Morrie. His feud with Tommy allows Paulie a piece of his restaurant (a terrible mistake and an entirely unforced error), leading to Goodfellas’ classic depiction of a break-out scheme — in which the mob comes in, runs up debts on the restaurant’s credit until it runs out and then burns the place down (which, incidentally, is more or less how private equity works).
This all culminates in one of the great monologues of the film, as Henry and Tommy sit outside the smoking restaurant, as Tommy tries to convince Henry to go on a double date with him. “Henry, do you believe this? A Jew broad, in this day and age, prejudiced against Italians.”
3. The Bamboo Lounge Introduction Montage / Funny Like A Clown
The “funny like a clown” scene tends to suck up a lot of oxygen in any discussion of Goodfellas, and for good reason. Pesci, not strictly “improvising,” though it wasn’t in the script, mostly came up with the bit based on something that actually happened to him. The range of emotion he goes through — not to mention his slapstick mannerisms throughout, from waving the gun around to diving at Henry afterward like a psychotic little doggy — is one of the most physically adroit displays of acting ever committed to film. It’s like Meryl Streep meets Buster Keaton. Again, Pesci deserves ten Oscars for this performance.
That said, the entire introduction montage that precedes it is arguably just as funny. That’s another, shorter tracking shot that introduces us to:
Jimmy, Tommy, and Me
Moe Black’s Brother, Fat Andy
His guys, Franky The Wop
Freddy No Nose
Pete The Killer (Sally Balls’ brother)
Jimmy Two Times (he’s gonna go get the papers, get the papers)
Magnificent. Incidentally, “Big Pussy” from The Sopranos (Vincent Pastore) gets a brief, unnamed cameo as the guy holding the coatrack.
2. I Thought You Said I’m Alright Spider
Scorsese just couldn’t let it go without reminding us that for every Henry Hill, a kid who finds a fortune, friendship, and a second family in the mafia, there’s a Spider, a guy who gets his corpse thrown in a landfill for objecting too loudly to being shot in the foot. And once again, Joe Pesci plays the whole scene with a brilliant mix of insecurity and overcompensation.
When his joke about being “The Oklahoma Kid” falls flat (on account of shooting Spider in the foot) Tommy accuses Spider of milking his injury and being melodramatic. When Spider comes back and Tommy tries to bust his balls about his cast like it’s all a big joke (which, if Spider had gone along with it, would presumably have absolved Tommy of his shooting faux pas), Tommy bombs again. When Jimmy busts Tommy’s balls about it in turn (“come on, you gonna take that? what’s the world coming to!”), Tommy can’t handle the embarrassment and shoots Spider in the chest.
Aside from the general insecurity, there’s a failed comedian rage in Tommy, perhaps foreshadowing the entire Joker movie (which, if nothing else, was heavily influenced by Scorsese). Then the way Tommy tries to play it all off like it’s no big deal (“So what, I’ll dig the hole. You think I’ve never dug a hole before? I dug a million holes…”) is almost I Think You Should Leave-esque in its comedy of guy-refusing-to-admit-when-he’s-wrong. Like so many Goodfellas scenes, it works perfectly as a stand-alone sketch.
It was a brief role for Michael Imperioli, who would go onto become one of the best actors in The Sopranos, but even in a film full of Oscar-winning heavy hitters, “I thought you said I’m alright, Spider” stands out as one of the most memorable lines.
1. One Dog Goes This Way, The Other Dog Goes That Way
It’s probably not too controversial to choose the shine box, the dinner at Tommy’s, and the dog painting as the best scene of Goodfellas. It was, after all, the scene Scorsese chose to tease at the beginning of the movie. There’s a lot to love about it, from Pesci’s volcanic reaction to “you insulted ‘im a lil bit.” But for my money, Martin Scorsese’s mom (playing Tommy’s mom) steals the entire scene. It probably helps that the hair, the shirt, and the way that her love takes the form of forcefeeding people is uncannily reminiscent of my own grandmother.
In particular, when Tommy tells his cockamamie story about needing her kitchen knife to cut off the deer’s paw (“the hoof,” Jimmy helpfully corrects as Tommy fumbles for the word) and she recoils while making that “Ssssss” sound… It gives me goosebumps. It’s like I’m back in the car with my grandma, wordlessly criticizing my father’s driving. I’ve never loved a complete stranger the way I love Catherine Scorsese.
Meanwhile, the scene, which begins as a tense confrontation, turns into a sitcom without missing a beat. Tommy fumbling around for the word for hoof, Mama Devito’s joke that she says sounds better in Italian (“Shut up, you’re always talking?”), and finally the weird painting that looks like the guy in the trunk, is like a joke with an escalating series of tags, a moody bridge, and a final punchline that shatters the tension. And because it’s all in the context of a side journey while trying to get rid of a body (the body of a made man, who it turns out is still alive…), the whole dinner has the effect of a whispered joke you hear at a funeral. You know you shouldn’t laugh, and trying to stifle it makes it ten times funnier. God, I love it so much.
Vince Mancini is on Twitter. You can access his archive of reviews here.
Alessia Cara on Amy Winehouse’s ‘Back to Black’: ‘She Just Laid It All Out’
This piece is part of our ongoing coverage of Rolling Stone’s newly updated 500 Greatest Albums of All Time list. Amy Winehouse’s Back to Black topped Alessia Cara’s personal ballot and landed at number 33 on the overall list. Here, Cara reflects on how the album comforted and inspired her during a formative time. (Go here to read the complete list of 500 Greatest Albums voters and learn more about how the current ranking was assembled.)
I remember seeing the music video for “Rehab” on MTV when I was nine or 10 years old and I fell in love with it. I fell in love with the song, with her voice, with her. She just really captivated me. When the record came out, it was everything to me. I loved it so much. I remember I downloaded all of the songs on this little hot pink iPod Nano and I listened to it on the bus ride to and from school almost every day. I was probably too young to even be listening to that music because she swore a lot and the subject matter was super heavy, but for some reason I still identified with it. I identified with the loneliness and the certain types of vulnerabilities and fears and pain that she was experiencing. Even though she was a lot older than me, I still identified with it and loved her.
There was a period of time in school where I didn’t have a lot of friends and I was sort of just a recluse. I had that feeling all throughout high school — that sense of solitude, and feeling discomfort in that. Amy Winehouse is one of the reasons that I wanted to become a musician in the first place. I remember watching her acoustic performances before she became, you know, Amy Winehouse. She was just up there with her guitar and she never sang the same way twice. That was something that I loved about her, that I’m still trying to do. She is one of the most honest songwriters I’ve ever listened to in my life. She was exclusively herself at all times. She was never afraid to say anything. She just laid it all out. She just went there and sat in the discomfort, invited her pain in and sat with it.
The things that she’s saying are not pretty things. They’re not sugarcoated. And sometimes they’re ugly. Sometimes your feelings are ugly. Your days are going to be ugly. Your pain is ugly. But when you talk about it so openly, I think that’s where you find your real strength and that’s where it becomes beautiful. An album like Back to Black opened so many doors for all young women after her to be able to say what they wanted to — unapologetically. And she definitely did that for me. So that’s why it was my number one — because not only is it just a masterpiece in itself, because she changed everything for young women in this industry.
I think Amy definitely took lot of blows that we don’t have to take nowadays — because she took them all. I remember some headlines while she was still alive that were just brutal. It’s crazy that now, after she passed, people just took all that back and were like, “Oh, never mind. She was a legend.” Why couldn’t you see that when she was around? People just mistreated her so much.
As told to Brenna Ehrlich
A Smoochy Locky & Irena Have Made Their Post-Bachie Debut On Instagram So Awwww, We Guess?
Locky Gilbert and Irena Srbinovska have made their couple’s debut on Instagram after finishing The Bachelor. It’s the usual cute, smitten stuff you’d expect, but because it’s Locky, we’re all pleasantly surprised.
In case you’ve already forgotten (we don’t blame ya), Locky ultimately went with Irena after telling both her and Bella he loved them. His decision put to bed the fiercest and most dramatic rivalry of the entire Bachelor season.
“Thanks for all the love and support from everyone, we’ve definitely read all of your messages and sorry that we couldn’t get back to you,” Irena said in a video on the show’s official account.
“I’m so excited for the future, I can’t wait for us to start living our life together, finally.”
Locky added that he’s keen to get back in the outdoors with his new missus, and hopefully “go for a hike, or go for a camp.”
“Anywhere out in nature, because that’s where we’re both happy,” he said.
“It’s been so long and we’ve had all these plans and it’s just been delayed, and delayed, and delayed.”
His first personal upload since The Bachelor wrapped up was pretty much the same, but maybe a tad more loved-up.
“I have always listened to my heart and it has lead me to this point,” Locky wrote.
“As hard as it was to say good bye. I was also saying hello to my future wife, baby mumma and best friend.”
Yeah, some of the lines are a bit generic, but it’s cute, alright.
“I cannot wait to spend the rest of my life with you,” he went on.
“Here is to one crazy adventure and so so many more with you babe.”
“Crazy adventure”… yeah we know, Locky. You don’t need to remind us that you’re an outdoor adventure guide and Survivor star.
That being said, all the best on that adventure, both of ya.
Of course, Bachelor-winner Irena has also made her own inaugural couple’s post on Insta.
It’s a bit shorter and more succinct, but still pretty damn cute.
“I got the man of my dreams and I couldn’t be happier,” she said.
“I love you so much Locky Gilbert.”
Same pic, but it’s a nice one, so who can blame them for double dipping?
In the comments of both post were a tonne of other contestants from The Bachelor wishing the the lucky couple well.
We wish them well too, no matter how forced their relationship might be.
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